Transcripts
1. Intro: What if you could learn one of the fastest and
simplest ways to create professional and sellable
artwork using procreate. By the end of this class, you'll have the skills
to do exactly that. I created all of these
designs using procreate, and now they're sold
in stores like Target, urban outfitters, HomeGoods,
Nordstrom, and more. So not only will you be learning exactly how
I use procreates, but I'll be peppering in some of my best tips when it comes to monetizing artwork and making a living as a commercial artist. My name is at Coco, and I'm a professional
artist and surface designer. I'm originally a watercolor
artist, and to be honest. I was a little bit
intimidated to learn a new program
like Procreates. But I am so glad I took the
plunge because now I can create gorgeous illustrations on a whim whenever and
wherever I want. And guess what?
It was incredibly easy and intuitive to learn
how to use procreates. Bonus, all of the artwork I create and procreate
is already digitized, which means I have ready to go files to upload to print on demand sites like Society six
or share to my Instagram. Procreate has all the tools you need to create
expressive sketches, fluid paintings, detailed illustrations,
and engaging animations. It's basically an
entire art studio located on your tablet, so you can take it anywhere. This class is a comprehensive
all in one procreate class. We'll start with the
basics, and by the end, not only are you going to have a solid understanding of how to create your own
incredible artwork. You're also going to have five super cool projects
to add your portfolio. This class is for beginners and experienced
illustrators alike. If you've never used
this platform before, we're starting right
from the beginning, so you'll be able to
keep up and learn. If you've dabbled
with procreate, but want to learn some time saving tricks and
professional tips. This class is for you as well. As an extra bonus, when you take this class, you'll score a
bunch of freebies, including custom color palettes, plus three totally free brushes, thanks to Lisa Glands. Lisa's brushes are among
the best in the market, and I've teamed up with her
to give my students three of her most versatile brushes
and last but not least. Don't forget to follow
me on Instagram. That's where I post
new announcements about upcoming classes, workshops, plus it's where I share all of my new artwork
and collaborations. You can also follow me on Skillshare by clicking
the Follow button uptop. This means you'll get
notifications as soon as I launch a new class or have a big announcement to
share with my students. All right. Without further ado, let's go ahead and
dive right in.
2. Getting Started: All right. This lesson is all about getting comfortable
with procreate. Throughout this
class, we'll start simple and get more
advanced as we go. So it'll be easy to follow
along at your own pace. Each project will teach
you an important skill, like how to use texture
effectively or how to utilize specialized drawing tools to create truly stunning artwork. So by the end of this class, you'll come away with
five new illustrations and a whole load of new skills. I have a bundle of
class resources for you to download
for this class. These freebies are totally
optional in this class. Think of them like
an extra perk. You're welcome to download these freebie assets
to use today. Or you can follow up and complete your class
project using your own favorite procreate
brushes and color palettes. It's entirely up to you. Either way, you're going to wind up with a gorgeous
class project. You can find them by
going to cat cook.com flash Procreate and entering your e mail to
unlock the bundle. This will open up
a drop box folder that contains our
color palettes, reference photos, and brushes that we'll be using
throughout this class. I want to give another shout out to Lisa Glans for providing these free brushes which are normally for sale
on her online shop. If you want to
check out the rest of her brush collection, which I have purchased most of, I'm providing a link to her shop down below in
the class description. You can also go to Lisa glands.com to check
them out. Heads up. Submitting your e
mail also unlocks access to my newsletter,
as well as Lisa's. You can unsubscribe at any time. All right, let's chat supplies. In addition to downloading
the class resources, you'll also need an up
to date procreate app. A device. I'm using an iPad, and I also recommend a stylus. I'll be using an Apple
pencil for this class, but you'll be able to create all the lessons in this class
with just your finger two. However, if you want to get
serious with procreate, I do recommend using a
stylus if you have one, and the Apple pencil
works out great for me. I included a link to purchase down below in
the class description. So let's go through a quick exploration of
the procreate interface, so you get an idea of
how things are laid out in procreate and the
basic navigation. If you're already familiar with procreate and know
your way around, you can go ahead and skip
to our first drawing, which is the next lesson. So when I open up this app, this is what it looks
like on my end. So I have a lot of
existing illustrations. Some things are
grouped together, and some things are kind
of solo and on their own. When you have things
grouped together like this, for example, it's
called a stack. Stack is just a fancy way of saying a grouping
of illustrations. To go back, just
click your stack. And we have all of these
individual thumbnails. You can click your
stacks and pull them around and rearrange them to other areas
within your space. For example, you can
click something, bring it all the way back to
the bottom, drop it there. So you can do a lot
of rearranging. If you want to add some
artwork together to create a stack, go
up here to the top, click Select, and you can take two pieces of artwork
and then click stack. And what it's done is
it's added them together. To get out of this
preview screen, go ahead and click this
x on the top right. If I go into a stack and I want to move
some things around. Same thing. I'll click this, move it over and do some
rearranging. Let's go back out. If there's any artwork
you ever want to delete, you can go to select. What's one I'm no longer
using the sky over here. Can select that artwork
and then press Delete. If you delete it, it
cannot be undone, so just keep that in mind. But you can clear up some space that way, move some
things around. Go ahead and press that X
to get out of that screen. And I'll show you one more
tool I use with select. So select. Let's grab one piece. You can duplicate this artwork. So if you ever have
an illustration and you really
like how it looks, but you want to make
some modifications without overwriting
this original file. Duplicating is a
great option for you. So now, you've got your
original over here, make as many changes
as you want to without worrying about
overwriting that original file. Anytime you want to go back to see all of your
original artwork, that's called your gallery. So you'll always see it
up here on the top left. So go ahead and tap that once, and you'll be back
to the home screen. You can also name artwork
directly from your gallery. And to do that, all
you need to do is tap where it says
untitled artwork. And type in a new name. These are Hibiscus. Oh, let's do the
MOG and press done. So now you have a file name associated with that
piece of artwork, and if you like being really organized, that's
the way to do it. Clearly, I'm not that
organized because all of mine are titled Untitled Artwork or stack if it's a grouping. So if you're brand
new to procreate, just know that you can kind
of move these things around, group them together, rename. Practice doing some
of these things to really just get comfortable
with the interface. So from this primary
screen from this gallery, this is also how you
set up new art boards. So the way you do
that is with this plus symbol up here
on the top right. So procreate comes with a
lot of default canvas sizes. But if you want to
create something that's your own custom size, you can use this
little icon up here. It's a black rectangle
with a plus sign in it. And from here is how you
set up a custom campus. We'll be doing this
in the next lesson, but I just want to show you
what that's looking like, and go ahead and press
cancel to get out. If I'm doing basic
thumbnail sketches or really any sort
of sketch where I'm not going to be exporting this final artwork to a
high res final piece, I usually just go
with screen size. And screen size is always
separated from the rest. So if you tap on that guy, if I ever just need
to get some ideas out onto paper, you know, maybe make some
boxes if I'm putting my website together, see
what things look like. I usually work with screen size. Screen size is pretty low res. So this is a great tool if you just want to
sketch something out, get your vision out of
your head and on a screen. Screen size is a
great option for you. If you're creating a
final illustration that you want to have
printed nice and big, maybe it's on a tapestry, that's when I go
for larger sizes. So this is not screen size. This is about probably 40 times bigger than
screen size when all is said and done because
this is 27 " by 27 ". So yeah, just something
to keep in mind. Screen size, great if it's not going to
be a final output. If you're just doing some
doodles that are pretty much just going to stay on that
screen. Go with that option. If you're going to
be creating artwork that you want to
upload to a website like Society six or maybe sell as art prints
on your z shop, that's when you would want to go for a larger Canvas size. Again, we'll dive in
how to make those larger canvas sizes
in the next lesson. So consider this gallery like the first level of procreate.
You open up the app. This is going to be the
first thing you see. The next level is
when you go into your stacks and you see these
thumbnails of your work. So Layer one,
gallery, Layer two, as you've gone into a stack, and the deepest
layer of procreate is when you're in that
actual artwork itself. So just think of it
as going deep into procreate or back out when
you see that gallery. Anytime that you see
your artwork like this, if you want to go back
to that next level, you just click Gallery. It'll take you out, click stack, and it'll take you back
to that home page. So you kind of go in and go out. So I'm going to go
into this artwork. And now, I'm just
going to explain a few things about
the basic menu bar. Again, gallery here on the
top left that will bring you back out of Procreate to see all of your
artwork in one page. This little wrench icon will
open up your actions panel. We'll be diving
into these actions later on throughout
your lessons, so you'll learn a little
bit more about these. The next one over
are the adjustments. It kind of looks like
a magic wand icon. We're not going to go into every single adjustment
in this class, but instead, I'll show you the ones that I use
the most frequently. Next up, this little S that looks like it's a piece
of tape or ribbon. This is called your selection. Free hand selection
is a tool I use all the time when I want to kind of move things
around, cut them out. It's a pretty powerful tool, really similar to photoshop if you're used to using Adobe. Two fingers on the screen will always undo your
previous action. Three fingers will redo. So two for undo. Three for redo. And then last but not
least on the left side of your upper menu bar is
your transform tool. Again, if you're
used to photoshop, you probably already
know this tool. This is the tool that allows
you to move things around. It allows you to rotate,
flip horizontal. Flip vertical, fit to screen, et cetera, et cetera, et cetera. You can always reset
your transform. If you're getting a
little bit too far ahead and you want to go back to
where it was previously. All right. Now let's talk about this menu bar on the
right. All right. The first icon over here
is your brush tool, which will open up
your brush library. Procreate has a lot of amazing default brushes
to choose from. So we'll be using a mixture of default brushes in this class, as well as a few
imported brushes, so you'll learn how to
work with both of those. Next up is your smudge tool. I'm going to be completely
honest with you guys. For the types of
illustrations I do. I rarely use this tool. So we're just going to skip over it because this
class is going to be focusing on the tools that I use the most and
recommend for you. Next up are our layers. It's these two
overlapping squares. If you're familiar
with Photoshop, this one's going to be
really intuitive for you. If not, no problem. We'll be diving into this in
the first lesson as well. But the gist with layers is
you can turn them off or on, you can build on
top of each other. It's a pretty powerful tool. And last but not
least over here on the far right is my
absolute favorite menu bar. It's the color palettes. So let me show you
what these look like. I have a lot of color palettes. Every time I do a
new illustration, I come up with a custom color palette for that illustration. So for this class,
I put together five custom color palettes that you can import intpropriate,
and work from. If you don't want to follow the color palettes I provided, no problem, you can come
up with your own colors. Within color palettes, you have a few options down
here at the bottom. The default is just
your palettes, which is exactly what this
looks like right here. Just to the left of
that, you have values. These are where you have very customized sliders where you can move things around and get a very, very precise color. Your color will always be indicated up here
on the top right. So whenever you
choose new colors, keep an eye on this circle, that will change based off
of what you're selecting. Next up, we have harmony, and this will help you
determine complimentary colors. To be completely honest, I rarely use this tool. I'm much more inclined to use what's right next to
it, called classic. This is one where you can
drag your slider around. Keep an eye up here on the
top right corner and you can see how that color is
changing as I move around. You can move that scrubber along the hue scale and get a
bunch of different colors. You have a lot of
flexibility here. And last up is disc, and this is just another option for finding a custom color. So a lot of these are doing
the exact same thing. They're helping you
choose your color. I recommend going
with whatever one you feel most comfortable with. So for me, it's classic. But for you, it could be value, it could be harmony,
or it could be disc. So these four, again,
I do the same thing. They help you determine a color that you can then
build into a palette. So just play around
with colors and palettes and just get comfortable
using this interface. If you want to create
a custom palette, you can click this plus sign
up here at the top right. That will give you a blank
slate for creating a palette. So if you want to go
over to your disk, let's find a nice
kind of P green. You can then go back to
your palettes and just tap and it will automatically add in whatever color is up here. You can also grab from other palettes and drag on
in to your own new palette, which I do all the time. A lot of these are repeat colors that get added to new palettes. The final way that
I add colors to palettes is by using
this color picker, which is over here on the
left hand side of my screen. It's a little rounded rectangle, and you can drag this around until you find
a color you like. Let's stop here on
this kind of blush, and you can see automatically, it's changed my
main color up here. And so I can just click
once and add it in. All right. So that
is a basic overview. Let me head back
out to my stack, and then to my main gallery. And let's go ahead and dive right in with our
first illustration.
3. Doodling on a Photo: In this lesson,
we're going to get warmed up with illustrating
in procreates. Instead of starting
from a blank canvas, we're going to be building up some doodles on top of a photo. In this case, a vintage desert scene with a
big, beautiful solaro. We're starting out like this
for a couple of reasons. One, this is a great way to get comfortable
drawing digitally. It's fun, playful, and it's
a quick intro to using basic tools like brushes,
colors, and layers. And two, being able
to draw directly on photos like this is one of the coolest aspects
of procreate. Sure, you can always
superimpose illustrations on photographs using Adobe
photoshop or illustrator. But procreate is what gives you that hand drawn vibe
over photography. Because we're literally
drawing over that photo, we can weave our linework
through elements of the photo to feel
integrated and quirky. I see this aesthetic
commonly used in head shots for
professional illustrators, as promo materials, and
as cool animations. So while this is great
practice for us, this sort of art style also has very real world
applications. All right. Let's go ahead and dive in. So for this lesson, there are two things you need from
the class assets folder. One is the color palette
called Desert cactus. If I were you, I'd
go ahead and select all of these and send them
to your iPad all at once. But just keep in
mind, desert cactus is the one we'll be
using for this lesson. The other asset you'll need for this lesson is in
the photos folder, and it's called Cactus
Cody Daugherty Unsplash. Go ahead and send that
to your iPad as well, and we can go ahead
and get started. So when I open up Procreate, this is what my screen
is looking like. So it's a lot of artwork. Some are individual pieces, and then some are groupings of similar pieces of artwork that I stack together to
create collections. It just helps me keep all
my art boards organized. So keep in mind, this is a warm up lesson to get us
used to using procreate. So the first thing
we're going to do is up here on the top right. Go ahead and click photo. And we are going
to be importing in that photo from the
class assets folder. The one titled cactus
Cody Dort Unsplash. So what Procreate has done is created this artboard
around this photo. So the dimension size DPI of this artboard is based
off the photo itself. So on our next lesson, we'll be learning how to
create custom artboards. But for now, we're just
going to be working off this photo and the
dimensions of this photo. So the first thing we're
going to do is go up here on the top right and click these
two overlapping squares. That opens up your
layers palette. Right now, it's just two layers. We have the photo itself, which is called layer one, and then we have this
background color layer. Background color layers
are default and procreate. You can't get rid of them.
They will always be there. So if you click this little
check box next to the layer, it will hide it, and you can click it also to
turn it back on. So if you turn it
off to hide it, you're just seeing
that background layer, and if you turn it
on, it's visible. So if you ever accidentally
uncheck the layer, just know that it's never
deleted. It's still there. You just need to
toggle that check mark back on to make it visible. So what we're going to
do in this lesson is be adding doodles on
top of this photo. We could add them directly
on this layer itself. But I prefer non destructive
editing techniques. So we're going to be
adding a layer on top of this so that we'll have our
doodles all on one layer. We'll have the photo
on a separate layer, so we can turn them on and off, and we won't be overwriting any data on this
photo layer itself. So to add a new layer, go ahead and click
this plus sign. And now we have layer two
added over layer one. On the artboard, it doesn't really look like
anything happened, but that's only because there's nothing on this layer yet. It's completely blank and transparent over
this photo layer. All right, next up, let's go
into our brushes palette. Go ahead and click the
brush on the top right. Sometimes you have
to click it twice for the brush library to pop up. And over here on the left, we have all of our
brush categories, Inking, drawing,
painting, artistic, et cetera, et cetera, et cetera. And within each category, there's a collection of
brushes that fit that theme. And for this, I
want to go over to my inking brushes and find the
brush that's called Syrup. Go ahead and tap it once. If you accidentally
tap it twice, what it does is open up your brush studio where you can make a lot of adjustments. But for now, we don't
really need to do that, so just go ahead
and press cancel and make sure that that
syrup brush is selected. And the last thing I'm going
to do before we get started drawing on our photo is
select the color palette. So go ahead and tap the circle over here
on the top right, and that will open up
all of our palettes. So as you can see, I've got a lot of palettes and procreate. I create new ones all the time based off of the
artwork I'm making. But if you've
already imported in your color palette,
you should find it. It's called Desert cactus.
It looks like this. Go ahead and click Set Default. And that means that this will be the palette to pop up
first as we're working on our illustration and select any color within this
default palette. I'm going to start with
this kind of rosy pink. And when I selected that color, you can see up here on the
top right in that circle that the color has changed as well to match the color
I've selected. So if I tap green, the circle at the top
will change to green, white, et cetera, et
cetera, et cetera. But I want to start
with this rosy pink. And to close your palettes, just go ahead and tap
anywhere on your artboard. Cool. Let's go ahead and open
up layers one more time. Just double check that we're
working off of layer two, that blank layer, and not working on the
photo layer itself. So layer two is selected, we're good to go, tap
anywhere to close. And now we can get
started doodling. So again, this is just
a practice lesson to get us comfortable
using procreate, so there's not really a right or wrong way
to be doing this. As I'm using the Apple pencil, I'm varying the pressure that
I'm putting on that pencil. Really heavy pressure, gives
a really thick stroke. Light pressure, gives
a very thin stroke. And if you want to delete any brush strokes
as you're going, you can either go over here to the far left hand side of the screen and tap
this undo button. You have a redo
button underneath it, so you can do redo,
undo, undo, redo. Another trick I
like to use is just tapping with two
fingers on the screen, which will undo in action. So one tap with two
fingers will also undo. With three fingers,
it will redo. So undo, redo. Undo, redo. And as you can see,
up here at the top, we're getting pretty
close to the edges. All you need to do is pinch into your screen and you'll give yourself some more
space around that. So it's pretty
intuitive the way that you kind of work around
that screen and draw. You can pinch in to make it smaller and then
pinch out to resize. If you ever just wanted to go back to fitting in that frame, just do one quick pinch, and it will immediately snap back into position
and lock to frame. All right, so I'm just going
to do some more doodles, get used to using this brush. If you want to change
the color palette, go over here to the top right. Click that circle, and I'm
going to try the white. So top once. You'll see
it changes up here, and now you can
continue drawing. I'm going to add some little prickly spines to this cactus. And change the color one
more time to this kind of peachy orange to make a
sunset behind the mountains. And as I'm going, I'm
varying the pressure of my strokes to get
some thin lines and some really fat lines. Awesome. I think I'll
change my color palette to white and add some
clouds up at the top. Keep in mind, this is a
complete practice lesson. So just have fun with these doodles and kind of get used to the varying pressure with your pen or finger if you're
using your finger instead. Cool. So we have some kind of fun exploration
with these doodles. Over here on the far left, we have these two
scaling sliders. The one on the top will adjust
the size of your brush. So if you bring it
up to the tip top, your brush will go to 100%, which is a pretty
fat brush stroke. And if you bring it all
the way to the bottom, your brush will go to 1%, which is a much finer
thinner stroke. I'm going to tap with two
fingers to undo both of those. And then this bottom slider affects the opacity
of the brush. So I've been using 100% opacity, which means this
white is pure white. You don't see any of that
background coming through. If I were to bring
it to about 50%, Then you would see some of that background layer coming through. But I usually like working at about 100% unless I'm
doing some blending. So two finger tap to undo. Cool. And I want to show you one more fun thing
you can do with color. So we've been using
these colors that are in our predetermined palette, this desert cactus palette. But let's say that
you want to change these colors and see what
it could also look like. To do that, we can
play with adjustments. So first things first,
let's go to layers. And make sure that our
layer two is selected. We don't want to have layer
one selected because we're adjusting the color
of just our doodles. So layer two is selected. And go up here on the top left and click this
little magic wand, and that opens up all
of our adjustments. And since we're
playing with color, go ahead and tap hue,
saturation, and brightness. And now you can kind
of toggle this slider along the hue scale and see what different
colors might look like. So this is just a really
cool way of exploring color after you've already put
your marks on that layer. You can also adjust your
saturation to make it really saturated versus
completely desaturated. And then the brightness itself. So full brightness will
turn everything white. And then when you bring it
all the way to the left, it will turn everything black. But I just wanted
to show you that as an option to kind
of play with color. Another fun thing
you can do in that adjustments panel is go
to your color balance. And this is a similar tool, but it's working off of
these existing hues. So right now, everything is smack dab in the middle
of these color scales. But let's say we bring it
to a much more red tone. You can see very slightly
that these colors have adjusted to add
more red into the hues. You can add more magenta
and maybe more yellow. And you can see that it's a
much more subtle difference than the hue and
saturation scale. Color Balance is a
really great tool if you want to work with your existing palette and just make some slight tweaks
to those colors. So I'm going to tap my
screen once and click Reset. Cool. And to get out
of this panel or anytime you're
kind of in a panel that you don't know
how to get out of. Just go ahead and click
your transform tool, and that will get you back
to where you need to be. All right. And before we export, I want to show you
one cool trick that I use all the time, and that's the Taps replay. So on the top menu bar, go ahead and click the wrench. That's your actions palette, and go to video. And now you have these options
for time lapse replay. Go ahead and tap that
option, Taps replay, and it will show you
everything you did to get to that final illustration.
It's pretty quick. This one is only about 3 seconds because we did a
very quick doodle. If you spend hours and
hours illustrating, it'll be a little bit longer. Press done to get out of there. I'm going to go back into it. So actions, time lapse replay. You can export these time lapse videos between full
length and 30 seconds. Obviously, this one
is pretty short. It was only 3 seconds long. So full length is
my only option. But if you have a really long
illustration that took you hours to You can go ahead
and cut it to 30 seconds, which is ideal for social media. And last but not
least exporting. So go ahead and tap that
wrench and go to share. And now you have a lot of options for how you want
to share this image. The two I use the most
often are JPEG and PSD. We'll be diving into
the PSD option later. But for now, I just want
to save it as a JPEG, which means everything
is flattened and it's a pretty
small file size. I have my air drop
options up top, which is what I
usually end up doing, and I will send it
to my computer. Cool. All right. That was just a
quick lesson to get us comfortable with
using brushes, understanding layers,
choosing from color palettes. So now that we have a basic
understanding of how to use this platform and the tools that are available for us, let's go ahead and get started
on our first real lesson, which will be the tropical leaf.
4. Tropical Leaf: In this lesson, we'll be creating this tropical
leaf illustration. I chose this motif because
tropicals are huge cellars, especially in summer months. A huge chunk of my portfolio
is tropical leaves, plants, flowers,
animals, all that jazz. If you're getting
into surface design, I highly recommend dedicating a section of your portfolio
to a tropical theme. It's a great way to boost
your sales and game traction. So our goals for this lesson
are going to be using a photo as a reference
for an illustration. So within that, we'll be
playing with canvas size, sketching over a photo, working with multiple
layers, using brushes, filling in color, adding vibrant textures using
the eraser tool and more. It sounds like a ton, but it's all broken down
into simple steps. Being able to trace directly
over reference photos is another one of my
favorite aspects of illustrating and procreate. For example, when it comes
to sketching out animals, I'm really not the best. I rely on reference photos to make things work out
well proportionately. This doesn't mean I'm stealing
or copying from a photo. But instead, I'm
using this to get a solid starting
point for my sketch. In this case, I used reference photos of bunnies
to sketch out their bodies. But all of the other aspects of this illustration are what
make it uniquely mine. The colors I chose, the brushes, the stylization of
the characters, and the way that I arrange them all into this composition. So if you want to start your illustration by
referencing a photo, that is perfectly
fine as long as you infuse elements to make
it truly your own. So I never copy a
photo directly, but I do rely on them as a starting point
with my sketches. And again, procreate is awesome for this because
you can pull out reference photos directly onto your screen and then delete them as soon
as you're finished. So if you're wanting to get realistic proportions
for anything, this is a great method for you. All right. Let's
learn how. All right. First things first, here are the class assets we'll
need for this lesson. Within the brushes,
we'll be using Lisa's pencil and roasted. But if you're already in here, go ahead and grab all three of these and send
them to your iPad. And the color palette we'll be using is the tropical
leaf palette. And last but not
least within photos, go ahead and select this photo, which is called
leaf adsplas JPEG and send that to
your iPad as well. Cool. Let's go ahead
and get started. So this is, again, what procreate looks like
when I open up the app. And what we're going
to be doing is creating our own custom canvas. Last time, we just clicked photo and brought in
our photo directly. But for this, I'm going to
show you how to create this really high res
large Canvas file. And this is really important
if you're going to be printing this artwork
out really high res. So maybe you'll
be printing it as large art prints or tapestries, wallpaper, you get the gist. So to set up a
really large canvas, we're going to tap this plus in the upper right hand corner. And Procreate provides
some default canvas sizes. But what we're going
to do is make our own. So go ahead and tap this gray plus icon next to a new Canvas. And this opens up the options for creating our custom canvas. So, the first thing I'll
do is change it to inches. And the largest size that
I can currently do and procreate is 27 " by 27 ". And I wanted to
keep it at 300 DPI. This is the standard
size for printing hires. But as you can see, by making
such a large canvas size, the layers only go to
a maximum of four, which means we only have four
layers we can work with, If it's a much smaller size, like say it's 1 " by 1 ". We have 250 possible layers. So by making such a big canvas, we are limiting that, but in
my opinion, it's worth it. So I'm going to put
that to 27 by 27. I'm not going to change
anything over here with color profile or
time lap settings. Everything's pretty
much good to go. And last but not least, I'm going to change the
name to large square. And go ahead and press create. Cool. So that will automatically
open up our canvas. This is a huge,
huge canvas file, and that's perfect for
what I'm looking for. So now with our canvas in place, let's go ahead and pull in
that tropical leaf photo. So to do that, I'm going to
go ahead and tap the wrench, which opens up actions. Click Ad. Insert a photo. It's in recent. Click at once, and it will
automatically pull in. So, as you can see, it defaults
to that transform tool, so I just want to pinch outwards and really fill
that leaf to the size, and go ahead and tap that arrow to set the transformation. So when you crop a photo
like this in procreate, all of the data from
that photo that was on these edges is now lost. It's been deleted, and this
is just how procreate works. So it's a little bit different from photoshop in that way. For example, if I tried to
move this photo around now, everything that was
on that left edge is gone and everything that's
on that right edge is gone. So just go ahead and
keep that in mind when you're cropping or working
off of the artboard. All right. I'm just going
to go into my transform, which is that arrow
and just bring it over a little bit more to center it and press that arrow again to set the transformation.
All right. And I'm going to go ahead
and open up my layers, which are those two
overlapping squares, and I'll tap this plus sign to add a new layer above the photo. And let's go ahead and open up our palettes by tapping the
circle in the top right. And the palette I
want to use for this is called tropical leaf, and I'm going to
tap set defaults, so it's always there
when I need it. And the first color I'm going to start with is this
kind of Kelly green. So it's the lighter
green of the two. And by tapping it,
you'll see that that green color changed on
this upper right circle. And now we'll go
into my brushes. And the brush I want to use for this is called Lisa's pencil. Remember, we imported this at the beginning of this lesson. So go ahead and tap that
once to get Lisa's pencil. If you're having a
hard time finding it in the brush library, it might be down here at the
very bottom under imported. These are all the brushes
that I've purchased online. So Lisa's pencil is what
we want to start with. Go ahead and tap outside the art board to
close that panel. And let's get started outlining. So for this, I want to keep
my brush at about 10%. I want that opacity to be up at 100 and let's go ahead
and start outlining. This doesn't have to be perfect. It can be a really rough
interpretation of that leaf. But I'm just going to go
around the edges entirely. I'm not worried too much
about pressure right now because the thicks and thins aren't going to matter since
I'll be filling this in. So I'm just doing a really
loose outline of this leaf. Again, it doesn't
have to be perfect. Cool. So make sure that you're closing that line entirely
from where it started. And the reason this matters is because when we fill it in, we want to make sure
that it fills in just to the shape and
not to the outer edges. And I'll show you what I mean. To fill in that shape, we're going to basically
grab the circle, so press your pen
down, click it, and drag it over and then
release it inside that shape. So now it's been
filled in entirely. If we hadn't connected that
line all the way right here, I'll show you what would happen. So let's just say it's a circle, but it doesn't quite
connect on the edges. If you try to fill it in, it's going to fill in
your entire artboard, which we definitely don't want. So I'm going to do
two taps to undo. And I also want to
undo that circle. So another two taps. Cool. So if your entire
artboard is filled in, it just means that that shape
hasn't fully connected. So go ahead and make sure it's connected all the
way. All right. And next up, the original leaf photo here,
let me show you. I'll go ahead and
hide this layer, had some areas that were
cut out like Swiss cheese. So I want to add that same
effect to my illustration. And to do that, I'm going to tap this n that's right
here on my layer. That N stands for normal
as a blending mode. And I'm going to
grab this opacity. It's at Max right now
and just bring it back enough so that I can see
these areas coming through. And just bring it back
enough so that I can see this photo coming
through behind it. Tap anywhere on your screen
to close that layers panel. And I'm going to use
my eraser for this. Your eraser is this tool right up here. It's
this rectangle. It kind of looks
like a vinyl eraser. And what I want to do
is tap and hold it. And that means
that it's going to erase with the current brush, which is called Lisa's pencil. And the reason I want
that eraser to be the same shape as the brush is because if we zoom in here, you can see the edges of this brush have this
really subtle texture. So I want to make sure
that when I'm erasing, that subtle texture is
also showing through. If I used a really clean eraser, it would just not really
align with what's going on on the outer edges
of this illustration. So two taps to undo. I'm going to pinch in to
see my full illustration. And I'm going to make that
eraser a little bit smaller. I'll bring it down to about 10%. And now I'm just going
to begin eracing. And this brush has a little
bit of texture to it. So if you zoom in, you can see that we're going to
have to go over this a couple of times just to get rid of all of those little
texture elements in here. Cool. And now we'll
do the other one. And you can see it's
not absolutely perfect. It doesn't have to match
that photo exactly. That photo is really
just a guide in my mind of seeing
what the basic shape of that leaf looks like, but it definitely doesn't
have to be exact. Cool. I'm going to add
one more little hole right down here just
to break it up a little bit and make it
not so symmetrical. Awesome. Cool. So this is
what it's looking like. The next step is
going to be adding this veining coming
through on that leaf. And to do that, I'm going
to go ahead and open up my layers panel and add
a layer above this. So click that plus sign, and it will add layer three. I'll go into my palettes, so clicking that circle. And I want the veining of
this leaf to be white. So I'm going to tap
my white square, make sure it changes up here. Go ahead and go into my brushes, make sure Lisa's pencil
is selected and tap anywhere to close
that brush library and just start drawing. Oh, I can already tell that's a little bit too thin for
what I'm looking for. So I'm going to use
two fingers to undo. And I'm going to bring
up that brush size. Let's see what 32 looks like. Oh, that's much better. So I'm starting out with
heavy pressure, and then I'm ending
on light pressure. And that's how I'm getting
this variation and stroke. So heavy to light,
heavy to light. And remember, it doesn't
have to be totally perfect or follow
that photo exactly. In fact, if you want to
branch off a little bit, it'll make your
illustration more dynamic. Perfect. All right. So we're actually finished using this background photo
as a photo reference. So I'm going to go ahead
and just get rid of it. We only have four
layers to work with. So any opportunity I have to get rid of one when I'm
no longer using it, I will absolutely take. So to get rid of this layer one, all you have to
do is slide left, and then you'll have
options to lock, duplicate, or delete it. And in this case, I want to
go ahead and delete it. Cool. I'm going to select layer two, tap that n for normal, and bring that opacity
back up to 100. Awesome. And as you can see, there's a little
bit of an area in here that I missed
with my eraser tool. Now's the time to go
ahead and clean that up. So I will get out
of my layers group, tap and hold that eraser, and then just go ahead and clean up those edges
that I missed. Perfect. And I'm going to do that quick pinch to reset
everything to my artboard. So next up, I want to add some
texture behind this leaf. So to start that out,
I'm going to open up my layers panel at a new layer
by pressing the plus sign. And right now you can
see that layer is in between the veining
and that background. Anytime you want to
rearrange layers, all you need to do
is click, hold, and you can bring it around and release it wherever
it needs to go. But I want this one to
be right in the middle. So first things
first, let's go to the brush we want to
use for that texture. Open up your brush library. And the texture I want to use
here is called soft pastel. You'll find that in
the sketching section. So if you tap sketching
and sort through, it's down here at the bottom, soft pastel. So
I'll tap that once. Go into my color palettes, and I'll be selecting that
darker of the two greens now. So tap once, make sure
it changes up here, and then tap to get
out of the library. I'm going to bring
that brush way up and see how this looks. Cool. So it's a pretty
subtle texture, but you can see it coming
through really well. Only thing here is, right now, when I'm laying that
texture over it like this, it's covering this
background as well. I only want that texture to
be applied to this leaf, so I'll show you how to do that. Go ahead and open up
your layers palette. Tap your layer once. And now you have a bunch of options over here on the left. And the option that
we want to go with for this is called
clipping mask. So go ahead and
tap clipping mask. And as you can see, That texture is no longer in that white
area over here at all. It's still there. It's hidden. It's just been masked
behind this layer. So now, when we click, we tap out to get out of layers. And now when we start
drawing along that photo, you'll see that it's not
drawing on that wider part. It's only drawing
within that area, the layer immediately underneath it that's been masked out. So I'm just going to fill in
some texture around here. I want it to be a little
bit darker in the middle of the leaf where it
kind of bends inwards. And I can bring down
that layer opacity. I'll bring it down to about 40 and do a little bit on
the edges over here, just to add a little
bit more variation. Cool. Let me zoom in, you can really see
what that looks like. In the areas that I've gone over multiple times
with brush strokes, it's almost changed
the color entirely. You're seeing that texture
come through a little bit, but for the most part,
it's pretty subtle. Over here is where you can
really tell the difference. So I'm going to do a quick
pinch to set it to my screen. And the last thing
I want to do is go ahead and open up
the layers palette, and I'm going to be
consolidating these two layers, but before I do that, I want to show you something
pretty cool. So with that texture layer
selected, if you tap that N, which stands for normal
as a blending mode, You'll see that there's actually a lot more options
for blending modes. There's lighten, screen, color
dodge, add, lighter color. It's just a lot to play with. The one I use most often
besides normal is multiply. And what that does is it shows this top layer with a multiply transparency
over that bottom layer. So it's really going
to sink in and key in with those
colors a lot more. It looks cool here, but it
gets a bit too dark for me. So I'm actually going
to keep it at normal, but I just wanted to show
you that as an option. So now to consolidate these two layers,
it's pretty simple. You're just going
to put your fingers on both of them and pinch in. And now those layers
are flattened together. So it's all one layer, this background green, and then that texture that
goes over our leaf. All right. And the last
thing I want to do is change this background color and add a really subtle texture
to that background. So go ahead and tap
background color. And what it does
is automatically open up all of your palettes. And anytime you tap a color, it'll show you what that
looks like as the background. So you can see a lot of
different options here. I'm pretty partial
to this kind of, like, gorge yellow color. I think it looks really nice. So I'll make sure
that that's selected. Tap anywhere in my artboard, to get rid of the palette, and I'm going to pinch
in a little bit to see what the overall
composition looks like. Awesome. So now I just want to add that background texture. So I'll open up my
layers palette. Tap that plus sign
to add a new layer. I want to click it and
drag it underneath, so it's just above that
background color layer. I'm going to change that
blending mode to multiply, so I'll tap that N. Bring
it on up to multiply. You can tell nothing's really happened yet because we don't have anything
on that layer. I'm just getting ready for it. I'm going to click
my color palettes. Use that exact same
background color. And last but not least, open up my brushes. Under imported. I want to use
this brush called roasted. This is another one of
Lisa's free brushes that she's offered
us for this class. So tap anywhere to get
out of the brush library. And I'm going to
bring my brush size up to the maximum 100%. Now I'm just simply going to click and kind of
brush in this texture. It's one tap at a time. Cool. I really like the
way that looks, but I want to make it a
little bit less intense. So I'm going to tap
my layers palette. Go ahead and tap that letter M. Remember that blending
modus changed a multiply, which is why it's an now, not an n. And I'm going to bring that opacity down to something that looks a little more subtle. Oh, that's nice.
Right at about 40%. And I'll tap to get out
of the layers palette. And I'm going to go ahead
and call this one finished. So when you zoom in, you can see some really nice
details happening here. We have some nice
textures both with this brush and this
background charcal that's coming through
on that leaf, as well as the background
color of the art board itself. So I'll do the quick pinch to get back to normal
and fit to screen. All right, let's go ahead and get started with
our next lesson.
5. Mandala: All right, let's
dive into one of my most popular Skillshare
class requests, learning how to
illustrate mandas. There is a reason
I get asked to do a Mandla class so frequently. It's because this motif is
a massively popular seller. You see these guys everywhere, like adult colorein
books, on apparel, especially yoga tank
tops and T shirts, and in the home decor category on products like
tapestries and betting. Mod Clock commissioned
me to create a Mandla them betting
set a few years ago, and the sales were massive. In addition to drawing mandalas because they're great sellers, I also love creating them
because it's such a relaxing, creative exercise for me. If I'm chatting on the
phone with my mom, there's a 50% chance I'm curled up on the couch doodling
mandalas while we talk. It's a great way to
zone out creatively. So our goals for this
lesson are learning how to use drawing guides
and assisted drawing. When I discovered these tools, my world was shaken. Before this, I used to
hand draw mandalas by placing varying sizes of
bowls on a piece of paper, sketching around them to
make concentric circles, and then using that as my guide. But in procreate, it
is so much simpler. Not only are there
drawing guides like this built into the app and only
a couple of taps away, but there's also
this incredible tool called assisted drawing. You can customize this so that whatever you draw
in one section of your canvas is repeated in
another section automatically. So for Mandalas, this means that I can draw
in one quadrant of my illustration and
the others will fill in automatically.
It's pretty cool. I also use assisted drawing when I'm illustrating
butterflies and mobs. Basically, if you want anything
to match symmetrically, assisted drawing is
your best friend. Alright, so let's learn how. So we have no class assets that we need to import
for this lesson. We'll be using default brushes, and we're not going to be
using any photos as practice. So everything we create will be right here within
the Procreate app. Alright, so let's go
ahead and get started. Go ahead and tap
that plus sign at the upper right to
select a new canvas. We're going to be using the
same large square canvas that we created in
our previous lesson. So go ahead and tap that once. That's the 27 inch
by 27 inch canvas. And it'll go ahead
and open up for us. Alright, first, let's go
ahead and set our palettes. So go ahead and tap that
circle on the upper right. So the palette we
want to use for this lesson is called
retro Mandala. So we imported it in earlier. It'll be somewhere in
the stack of palettes. Here we go. Retro Mandala. Go ahead and tap set defaults. And now let's go ahead
and open up our layers. Those two overlapping squares. I'm going to tap the
background color layer. Which is automatically going to open up our palettes again. Remember, this is where we
can kind of tap through these colors and choose what we want our
background to be. And for this, I want
to kind of go for this creamy tan color
as the background. And now let's go
select our brush, tap that brush icon. And the brush I want to use for this lesson is called syrup. It's one of procreates
default brushes, and you can find it in
this inking category. Here it is right here.
It's already selected. And the reason I want
to use this brush, I'll show you some examples. Is because the pen
is really smooth. There's no. There's no
texture on these outer edges. It just feels like a
very clean, crisp line. It also has the slight taper to it so that if you
adjust your pressure, you can have a lot of variety
within that line weight. It's not just a
model line brush. You have some options for the thicks and the
thins. All right. I'm going to double tap a
few times to get rid of all those practice
brushstrokes and then do a quick pinch to reset my
artboard to fit to screen. So like I mentioned,
our goal here is learning how to use the
assisted drawing guide. And to get into that,
go ahead and tap your wrench on the top left
to open up your actions. Now if you select
Canvas at the top, you'll have some
options up here. We have crop and resize, animation assist, drawing guide. That's the one we
want right there. So go ahead and toggle
on that drawing guide. And now you can
see that this grid has appeared on my artboard. So if we were going to print this image
or export to JPEG, this grid isn't visible.
It's not going to show up. It's just here for us right now as a reference so that we can help align and set our illustrations
well on our artboard. So I use this drawing
guide all the time, if I'm doing something
with typography and I want it to
line up perfectly. It's a really, really,
really great tool for that. But we can use this guide for
a lot of different things. It doesn't necessarily
have to be a grid. So under drawing guide, go ahead and tap
edit drawing guide. And now we have all
of our options. Starting right here
at the top with this kind of spectrum
in the rainbow. You can adjust the
color of your guide. Like I said before,
this drawing guide is just for our eyes only. It's not going to export
in any sort of Jpeg. You only see it when
you're in the app itself. Our default is the cyan blue. But let's say the
illustration we were drawing referenced a lot
of cyan blue colors. It might be difficult
to see this guide. In which case, you just
might want to change the color to something
more magenta or orange. So I don't really change the color of the drawing
guide that often. Usually, cyan blue
works just fine for me, but that's an option
if your illustration is really heavy in cyan. So next up, let's take a look at these options down
here at the bottom. I don't really
adjust the opacity or the thickness of
the drawing guide. Grid size I use sometimes. If I'm going to
be doing a lot of really fine work and I want
it to line up perfectly, you can get a much
tighter, smaller grid, or you can bring it
up to the top and just get a much
fatter thick grid. I honestly usually leave
that at about default, and it works out
just fine for me. But in this lesson, we're
going to be drawing a mandla. So this two D square grid isn't actually the
grid we'll be using. We're going to go all the
way over here to symmetry. Go ahead and tap that once. And as you can see
that grid changed. Now it's just one line with
a circle in the middle. Go ahead and tap options down
here on the bottom right. And what we want is
radial symmetry. So this option on the far right. Now you can see that all of these lines converge
right here on the center. That's exactly what we want. And last but not least, go ahead and make sure that rotational symmetry
is unchecked, just like it is right now, and assisted drawing is checked. So these are the exact settings you want on your screen as well, and I'll show you
exactly what that does. So go ahead and press done. And now we have our guide. Real quick. Before
I get started, I want to go into my palettes and kind of choose a teal green, any color from this
retromandol palettes. Tap my screen once
to close that panel. And this is what the
drawing guide does for us. It repeats all of our
strokes on this radial axis. It's pretty cool. I'm going to go through and
change some colors around. So now, whatever you draw, it's getting repeated along this radial axis.
It's pretty cool. So now's a good time
to just kind of play around, get used to that brush, see what kind of shapes
are looking like as you repeat them
along this radial grid. Yeah, and just have fun
with it. Play around. I'm going to change
my color again. Let's try this bright yellow. And bring some more
shapes in here. So now I want to have a
shape behind all of these, and I'll show you
how to do that, as well, go ahead and open
up your layers palettes, and let's make a new layer. I'm going to change the color to that blush pink and
then open up my layers. Just go ahead and make
sure I'm on layer two, tap and hold and bring
that underneath layer one. And that way, whatever
we draw is going to be underneath this illustration
we've already created. So if I were to
just go ahead and draw on my screen
right now like this, You can see it's only
drawing in that quadrant. It's not drawing in the others. And the reason that
happened is because the drawing guide isn't
turned on for this layer. You can see under layer one underneath in small lettering. It says assisted. Layer two
doesn't have the same thing. So this drawing guide is
applicable per layer only. So if we want to do the
same thing on layer two, we need to make sure we turn
that drawing guide back on. So let me get out of there and
just tap with two fingers, get rid of my illustration. Go back into my actions, tapping that wrench,
hit edit drawing guide. And everything's pretty
much where we want it. Go ahead and tap options and make sure assisted
drawing is turned on. Go ahead and press done. And now when we open our layers, we can see assisted
is back on there. So now, whatever we draw will be repeated throughout
all of those quadrants. And remember that fun tip
earlier where you kind of click and drag that
color palette release, and it will automatically
fill in. It's pretty cool. So now I'm going to go
back into my palettes. We haven't used this orange yet. Let's see how that looks. And I'm just going to kind
of fill in the space for that illustration with
some abstract shapes that are looking pretty cool. Sometimes I like
to fill in some of this negative space with dots. Kind of break it
up a little bit. Awesome. So that is how
you create a mandla. I'm sure yours on your iPad is looking completely
different from mine. That's kind of the
fun thing with this. No matter what you're creating, it's going to look entirely
different every time. And last but not least, I want to add my
signature to this. So I'm going to
open up my brushes, select sketching, and peppermint is my favorite
sketching brush to use. And I want my signature
to be in that teal green. So if I were to drop my signature right
now on that layer, here's what's going to happen. It's repeating all
along these axes. So that's not going to
work for me clearly. So what I want to
do is go over to my layers, start a new layer. And remember, when we
start a new layer, assisted drawing isn't on
there. That's not default. So now if I just
start a new layer, come down here, zoom in
and write my signature. It's only going to be there. It's not repeating across the rest of this
board, which is great. If I were to turn on
assisted drawing, that would be repeating
like I just showed you. So you have some
flexibility here, whether or not you want to use assisted drawing to have things repeat along all
these different axes, or if you want to
have that on and just create something that's not going to be repeated
symmetrically. Alright, so that was a
pretty simple lesson. I just wanted to show
you how you can use assisted drawing to create
things like mandalas. And real quick, before
we end this lesson, I want to show you one
more way to use this tool. So I'm going to go ahead
select all of these layers together by swiping right
and selecting group. I'm going to name this group. Rename Mandel. Press Enter, tap that carrot to
condense the group, select that check box
next to it to hide it and create one
more new layer. So we've been working
on this radial axis. What I want to show
you real quick is what it looks like on a
horizontal axis. So let's go back into our
actions, select drawing guide, and I'm going to change it to
symmetry options, vertical. And now you can see before
where we're working on a radial axis with all these
different axis points. But now, I just want
it to be vertical, and don't forget to toggle
on assisted drawing, and then go ahead
and press done. Now, I want to select a
brush that you can actually see from your screen. Let's see. I'll change it to Let's try Salmanga just because I
like that name. All right. So now as you draw, you can
see that everything is being repeated just on
this vertical axis. So this is great if you want to create something
like butterflies, which is exactly how I illustrate my butterflies
and procreate. I use the same tool where it's working on
the vertical axis. And just like you can
do the vertical axis or the radial axis, there's a bunch of different
ones you can play with just depending on the type of illustration you're
trying to create. And remember, if it's
ever not working for you, just go ahead and open
up your layers and make sure it says assisted
underneath that layer name. If it doesn't say assisted, then that means
that the assisted drawing guide is not turned on. So if it's not
working on your end, just double check those layers
to see what's going on. So now I'm going
to tap that check mark next to that
layer to turn it off. Turn my Mandela back on, go to actions, video. Tim as replay. And now we can see exactly what that
looks like on our screen. Little bit more dynamic
than our last time laps replay. All right. Press done. And
now when I export, I'll go to actions share. And this one, I'm going
to be exporting as a PSD. I mentioned that I export two
Canvas types, PSD and JPEG. And for this one, what
I want to do is have the options to edit all
those colors and photoshop. Yeah, I'll go ahead and
send that to my mac book. And by exporting as a PSD. That means I can open it on photoshop really
easily on my computer, and all of these layers
will be here and intact. So instead of just receiving
it as this flattened file, I'll be getting all
these separate layers. And that's pretty
important to me, because it just makes it a
lot easier to adjust color. I can turn that
background on and off really easily
to be transparent. It just gives me more
flexibility on my end. So if you're going
to be editing this in any way shape or
form and photoshop, don't forget to
export it as a PSD. Alright, well, that
wraps up this lesson. Let's go ahead and get
started with the next one.
6. Hand-Lettering: This lesson is all
about best practices for hand lettering in Procreate. As far as commercial art goes, hand lettering inspired quotes, inspirational
messages, and words of wisdom all do very well
in terms of sales. In fact, my brush lettered
Shakespeare quote is the one art piece in
my portfolio that pushed my brand into
relevance back in 2014. Before then, my artwork
wasn't very well known, but after I painted Little and Fierce and published
to my Instagram, my following blew up and my brand was truly taken
to the next level. Now, that print is
sold in target and is still one of my best
sellers on Society six. Using words in your artwork is a great approach
because they can appeal to a much wider audience. There's a reason
half my friends from college have live laugh
love in their living rooms. That message speaks to them. So in this lesson, I'll
be walking you through what a basic hand lettering
exercise looks like. The big focus of this lesson is going to be on composition. Composition is a huge
part of hand lettering, and I do a lot of this,
especially in Procreate. In this lesson, I'll be
showing you exactly how I approach hand lettering projects in procreate specifically. You can follow along directly or add your own
interpretations as you go. If you totally jive with this lesson and you
want to deeper dive, I encourage you to check out
one of my previous classes, modern brush lettering
and calligraphy, from sketch to screen. In that class, I teach you hand done brush
lettering techniques. Then show you how to digitize your lettering and edit on
your computer. All right. But before you
jump over to that, let's learn how to hand
letter and procreates. So first things first, let's go ahead and
click that plus sign, and we're going to
be working with the large square canvas. And this one is going to get
pretty interesting because I like using a lot of layers
when I'm doing hand lettering. And obviously, as we've seen, our max layers for this
large Canvas are four. So we're going to
have to be a little bit creative in how
we deal with that. This is just a basic
challenge with procreate, working with large artboards,
limits your layers. So I'll show you some good
workarounds. All right. So first, I'm going to
go to my palettes on the top right and just choose
any sort of bright red hue. The reason I like sketching
in bright red is because it's a really vibrant
primary color that's hopefully going to contrast
the actual illustration. If I were doing this by hand, I'd probably just be sketching with a normal pencil,
which is gray. I find that a little bit boring. So here in Procreate, why
not use a bright color? And so next up, I want
to go to my brush. Oh, and it's already
ready for me. It's peppermint. So within
sketching as a category, Go ahead and select peppermint. There's a lot of
different brushes here that you can sketch with, but peppermint is my
absolute favorite. In my opinion, this replicates a really sharpened
graphite pencil more than any other
brush in this app. And now it's time to create
some thumbnail sketches. If you're not familiar
with thumbnail sketches, it's just really rough
sketches to help you kind of loosen up and find a composition that's
working best for you. So the quote I'll be doing
is do what you love. I feel like that's very
applicable to anyone in a creative fields or if you're
using procreate right now, chances are you probably
really love illustrating. So let's go ahead
and work with that. The first thing I'm going
to do is just write it out. This helps me loosen up. As you can tell, my handwriting doesn't have to be perfect. I'm just kind of seeing what those letter forms look like, looking for some ideas
of how they could lock together in a
really interesting way. Let's try cursive. See how
that looks. Oh, you know what? I'm really liking
the cursive love. But I think I like the
normal stack lettering. Do what you. Let
me zoom out a bit. And as you can see,
thumbnail sketches do not have to be perfect. They're supposed to
be really loose. You're just kind of
getting your ideas out of your brain
and onto paper. Well, in this case, screen. Let's try some
stuff at an angle. So I'm just going to kind of
make up a grid right here. Again, very loose. And I've been doing
all of these. I've been kind of starting with different words and seeing
how the rest flow around it. Let's try starting with
love. That's nice. You have this bottom bar of
the L locking around VE. This seems like a
good spot, all right. Again, you can completely
work backwards here. A lot of cases, that helps you find an interesting composition. What if do we're here,
we're over here. What if the curve of this
L wrapped around do to contain it so that it's
containing this part of OV, and the upper part of
the L is containing do. I really like this composition. I think it's pretty interesting. So I think this is going to be the one that I
focus on refining. So let's go ahead
and isolate out this thumbnail and have that be the primary thumbnail
that we focus on. So I'm going to use
my select tool. It's the p here that looks like a piece of
tape or a ribbon. And the selection that I use most frequently is free hand. So go ahead and make sure
free hand is selected. And all you're going to do is just kind of draw around it, get a nice blobby shape. And then I'm going to
use three fingers, pull down on my screen
and select cut and paste. So what that's done, if you go over here to your layers is it's created a whole
separate layer just from that selection. So we had our
original layer here, but we have gone ahead and
cut out the selection, which is now on a second layer. So these original layers,
I don't need them anymore. And again, this whole
exercise is going to be working within that limitation of only having four layers. So anytime we can consolidate
or remove layers, we want to jump on
that opportunity. So since I no longer need
these other thumbnails, let's go ahead and swipe left on that layer and select delete. So now we just have this guy. So now what I want to do is take this guy and center
him in the screen. So what I want to use
is my transform tool, which is this arrow up
here on the top left. Now I can click,
drag this upwards. For whatever reason, I always sketch at a pretty
heavy diagonal, so I can grab this little
green circle right here and bring it back
to the horizontal axis. I'm going to go ahead
and make it a little bit bigger and hit that arrow one more time to set
the transformation. So remember, in that
previous lesson, we worked with a drawing grid. We used it to do
assisted drawing to make a mandla that repeated on
all the different axes. But in this case, I want to
use that drawing grid again, just to help me out
with my hand lettering. So tap that wrench
up here on the left, go to Canvas and turn
on a drawing guide. And now we have these gridded
outlines that are going to help us draw so that it feels a little
bit more perfect. If your drawing guide
for whatever reason, doesn't look like
mine right now, go ahead and tap edit drawing guide and make sure you're
working with a two D grid, not anything with symmetry
or perspective or isometric. Two D grid is the one you want. And remember, you can adjust
the thickness of those bars, as well as the grid size itself. And so what I want to do is have this grid size match
these letter forms. So where it says, do
what I want to make sure the squares are kind of matching as tall as I
want those letter forms. So that's actually
feeling pretty good. Go ahead and press done. And now, what I'm going to do. It's a pretty sloppy sketch. I want to refine it
just a little bit. So I'm going to go to
my layers palette. Click that plus sign
to add another layer. Then go to my brushes, and peppermint was a great way to start those initial
thumbnail sketches. But now I want to select a brush that's a
little bit thicker. Soft pastel, that's
going to do it for me. As you can see,
it's all monoline, which means the weight of the
brush is very consistent. There's no big disparity
between thicks and thins. So I'll select soft pastel. Make sure I'm working
on a separate layer, a completely blank layer, not that original layer. In fact, I'm going
to tap that N, bring that opacity on my
original layer pretty far down, like 20%, so I can
barely see it. Actually, I'll amp it up for
you guys just in case you can't see it so well
from the screen up here. All right. So layer
two is selected. I have my brush a soft pastel. Go ahead and tap on the screen to close the brush library. And now what I'm going to do is a more refined sketch on top of my really
rough pencil sketch. So I'm going to start with D. And I'm using this grid to kind of help me figure out how tall
these letters should be. And now I'm going to start the L. We need to adjust that later
we can now we'll do what? Again, it doesn't
have to be perfect. This is just another
sketch on top of our existing sketch.
Now I'm going to write. Love. And finally Oh, that's a bad why. And finally, you. Do what you love. Perfect. Let's go
back into our layers. We are now finished with
our original pencil sketch. So again, anytime we don't need a layer,
let's get rid of it. Swipe to the left, press delete, and this is going to be
our new thumbnail sketch. So I'm going to tap
that layer name once, select rename and change
that name to thumbnail. And this just helps
me stay organized. If you're a very type a person, chances are you're really going to appreciate
having a lot of organization within your
layers panel. All right. So we have our
thumbnail in place. I'm going to click that N, bring that opacity down
to about, you know, 40%. That looks great and
add a new layer. So hit that plus sign
to get a layer on top, and this is going to be the
final illustration layer. And now it's time to
get into our palettes. The palette for this one
is called Rosy Navy. You can either follow along with this palette or choose
your own to work from. So I'm going to start
with this pink color. As you can see,
when I tapped it, the color changed up
here on the top right. Then I'm going to
go into my brush, and we are going to use one
of those imported brushes. So down here at the very
bottom where it says, imported, we want to
work with Lisa's pencil. And this is another one of those freebie brushes that Lisa provided for
us for this class. So thank you, Lisa. Lisa's pencil. Then go
ahead and click out. And I want to show you
something real quick. You can either follow
along with this so you can see it for
yourself or just watch. This won't be part of
the final illustration. Remember earlier when we
were filling in shapes, we drew a shape, rabbed up here from the palette
and dropped it in. That's definitely one
way to fill in a shape, but there is a
problem with that. And you can see here,
let me zoom in. You see that on those
inner edges of the shape, it almost makes this halo. It's this white area, and it doesn't really
fill in completely. And the reason that's happening is because of this
type of brush. It's a really textured brush. Look how rough those edges are. Even in the heart of that
brush right in the middle, there's still some
texture in there. So if you're trying
to fill in a shape, It doesn't really know when to stop and when to start
filling in this area. And that's when you get these
kind of white halo effects. There's a couple of
ways around that, and I'll go ahead and
show you two of them. So two fingers to undo. The first is with
the color threshold. So same thing as before, grab that circle, bring it
over, but don't release. Keep your pen connected to the screen. Don't
lift it up yet. And up here at the
top, you'll see this thing that says
color drop threshold. And as I move my pen from
right to left on screen, you see the percentages of
that threshold are changing. So if I bring it all
the way to the bottom, you see that white line is
much more apparent, whereas, all the way to the right, it starts filling in a lot more. So that does give you
some flexibility. When I bring it much
further to the right and get a color
threshold of around, you know, 90%, it's going to do a better job
filling in those edges. It's still not perfect and you see that line a little bit, but that color threshold
is helping quite a bit. If I were using a
completely smooth brush, here, I'll show you real quick. Let's do this one looks
pretty smooth on the edges. Sm Smer? Smider. Who knows?
Let me show you. So if I were to
draw a circle here, you see the texture is not nearly as rough as
our original brush, and if I were to drop
in a color this way, it does a much better job
filling in the edges. You still have a little
bit of that halo, which means I need to
adjust that threshold. So pull it in. Don't release, bring it much further
to the right. If you go to a color
threshold of 100, it's going to fill
in that whole layer. So there's some
wiggle room here. But there we go. 92 looks pretty good. You can barely see
it on those edges. So just know that you have some flexibility with
that color threshold, as long as you keep your
pen on that screen, as soon as you lift it up, it's going to set that fill, but you have some wiggle
room to the right and left. All right. So that was a long
explanation for me to get to the point of saying we will not be doing color fills
in this lesson. I just wanted to show you
what that looks like. But for this lesson, we're actually going to be
skipping color fills, we'll be filling
in manually like this instead. All right. So let's get back into
our illustration. So a bunch of double taps
to get back to where I was. I got to change my brush
back to Lisa's pencil. And let's go ahead and
get started. All right. So what I'm going to do? Oh, way too thick. Let's bring that back down. There's a lot of trial and error with your brush sizes here. Let's try 16%. Perfect. So now
what I'm going to do is just kind of start
sketching this in. Again, it doesn't
have to be perfect. But this is just
a nice way to get that organic texture coming
through without doing fills. So if you fill it in
manually like this, you still see that nice
texture coming through, which I absolutely love. Up here, I filled it in
a little bit too hard, so I want to use my eraser. I'm gonna press my
eraser and hold until it says race
with current brush. Oops. Way too big. Double tap. Let's bring
it way back down. Cool. Now we can get some of
that white space back in. Nice. Let's go back to my brush. And that's what I'm going to do. I'm just going to start filling
this in, drawing it out. If I use a really
heavy pressure, some of that texture
will be removed. Let me show you what that
looks like heavy pressure, not a lot of texture. Really thin light pressure. You see much more
texture coming through. Just something to keep in mind. Either one is fine. It just depends on your
personal preference. So I'm just going to
start filling these in using that pencil sketch as a rough guide for how I want my letter forms to
feel thickness wise. So let's just go ahead
and fill this bad boy in. It doesn't have to be an
absolutely perfect fill. In fact, that's what I
really like about using this particular brush and using this method for hand
lettering. It feels imperfect. It feels like something I
did with a piece of charcoal on a rough piece of paper or even with chalk on a chalkboard. It just feels really nice. It doesn't feel like a
digital illustration. It feels very hand done. And that's exactly what
I'm going for here. If I wanted it to be
absolutely perfectly polished, I would be using
a different brush or he'd be doing this
in Adobe illustrator, but I want it to
feel very hand done. So this is the method for me. And again, these sloppy
little accidents. I kind of like that. So I'm going to keep some
of those guys. Not too much, but enough to feel very organic and hand done. Awesome. A good way to
kind of test this and see how it's looking is to
go back into our layers. Let's go ahead and
uncheck that thumbnail so we can see how it looks.
There are a few areas. I know I like sloppiness, but not overly sloppiness. So I'm just going to kind
of fill this in a little bit more clean up those edges. Again, we can choose our
eraser and kind of refine those edges a little
bit to clean it up, go back to my brush. Nice. I'll just make
a few more touch ups. But I'm leaving a lot
of that roughness. Like I mentioned, that's the aesthetic I really
like for this. All right, turn that
thumbnail back on and go ahead and fill in
the lettering for love. And for that, I'm going to make a new layer, so plus sign. Let's go into our palettes. Hmm. I think I'm going
to do this bright red. So make sure it's
changed up here. Quadruple check to make sure that we're working
on that blank layer. I can't tell you how many times. I've made this really meticulous,
beautiful illustration, but I've accidentally done it right on that
thumbnail layer, and I had to delete every. I had to start
basically from scratch. So you cannot check your
layers palette too many times. It's really easy to kind
of get caught up in your illustration and
forget to work with layers. But you just want to make sure we're on arand new layer because we'll be deleting this thumbnail layer when we're
all said and done. Okay, so layer three. Let's make sure brush,
Lisa's pencil, color is red. And let's do the
exact same thing. So I'm not changing
my brush size. And the reason for that
here, let me show you. Okay. So right now, it's
on what is that 17%? If I bring it up to 100%, Yeah, I'd be able to fill
in those letters much faster, but check this out. The edges of this
brush aren't matching the edges over here that
looks inconsistent. So I want this to
look like it was all done with the same size
of chalk or crayon. So that means I'm going to be using the same brush
size throughout. So it was around 16%. So even though that's a little
bit more work on my end, it's going to look better
in the final piece. It'll just look a lot more
consistent. All right. And remember, you can
rotate this canvas around so that it feels more natural with the way that you're doing your brush strokes. So lots of rotation going on. As you can see, if I paint with a side of my
brush like this, it's a lot softer versus the very tip top of my
brush, which is sharper. So things to keep in mind, that's a really intuitive way to design brushes
that makes it feel like you're using a real kind of like piece of chalk
or piece of charcoal. Because of course, when you draw out with the tips
of that charcoal, it's going to be
much sharper versus using the edge where it
gets a little bit softer. All right, so let's
fill this guy in. Again, I don't want
it to be perfect. I like having a little
bit of roughness here, I just fits that
overall aesthetic. And as much as possible, I'm trying to draw in the same direction as the
strokes of these letter forms. And what I mean by that is, I'm not filling
them in like this. No, no, no, no, no.
I'm filling them in right along the way that you would
typically draw them. And that just helps it
feel a lot more natural. And this first run through, it's always a little bit sloppy. I'll clean it up with the eraser after I get these
basic forms down. Okay. Alright, cool. Let's go ahead and
go back into layers, toggle off that thumbnail, and that really helps us get a better vision of
what's going on here. So, I know I like
these kind of rough, sloppy letter forms, but this
one's a little too sloppy. So I'm just gonna kind of go through and clean
it up a little bit, make those edges a
little bit more refined. And it's really
helpful for me to turn off that layer thumbnail
while I'm doing this. So there's nothing in the
background distracting me. Lots and lots of rotation. Awesome. Yeah, that's
feeling a lot better. Yeah, you still have
that those kind of naive brush strokes. But overall, it's feeling
pretty locked in and tight. Oh, you know what? We can go ahead and
turn that grid off. So click that wrench to get to your actions and go ahead
and toggle that grid off. We don't really need it anymore. Alright, so looking
pretty sharp. The next thing I
want to do is add a drop shadow to this type to give it a
little bit more dimension. So let's go to our layers. Oh, here's an opportunity to go ahead and get
rid of a layer. Let's take that thumbnail, swipe to the left, delete it. We are completely
finished there. We're no longer needing
to reference that. So let's start with the
drop shadow on do what. So we have that layer selected, swipe to the left and
select duplicate. So what that's done is it's made an exact copy of that
layer, right on top of it. So let's go to our palettes. I want to select red. Click that red. Bring it
right on top of that pink, but don't release the pen. Bring it all the
way to the right until all of those
letters change to red. I'll go back to my layers. Click that layer, bring it
underneath the pink layer, so it's completely hidden now. Now we're going to go
to our transform tool, which is that arrow and just
bring it down slightly. Actually, you know, I'm going
to bring it to the left. Slightly to the left down a little bit to give
it some dimension. Press the arrow again to
set the transformation. Va, we have a shadow on there. I'm not quite done
with that yet. What I don't like are
seeing these kinds of gaps over here in these corners.
I want to fill those in. Let's go to our layers,
make sure that's selected. Make sure that our
color palettes on red. Let's go to brush. We're on Lisa's pencil.
Everything's good to go. Now what I'm going to do is connect these corners like this. You can also smooth out that shadow a little bit
in areas where it's a little too rough or fill it in in areas where
there's some gaps. So let's check this out. So now it's all connected. It looks like one shape
that's fully connected and fully three D. So just kind
of connect those corners. So it feels like
one cohesive shape. And this is also
good opportunity to kind of smooth out those
edges if you'd like to. So anytime there's a corner
that's not connected, go ahead and connect
that bad boy. Again, we can smooth out some of these edges to make it
a little bit nicer. But basically, what we're doing here is connecting
these corners, so it feels actually
three D. Perfect. I'm going to fill that in a bit. Awesome. So now it
feels like it's an actual three D blocky shape. I want to do the
same thing for love. So let's make a copy
of that layer by swiping left, hit Duplicate. And I want the shadow on
love to be this Navy. So I'm going to select Navy. Click my circle,
drag it into love. Pull it all the way
to the right with my pen still
touching the screen. So the whole thing fills in. Go back to my layers, grab this guy, drag
it underneath. Go to my transform tool. Bring it slightly off
center to the left, hit it again to set
that transformation, and now do that
exact same thing. So we're connecting corners
or in some areas like this, we're filling in
that white space. Awesome. That feels pretty good. Yeah, I'm really happy
with this illustration. I think it looks pretty nice. One thing I'm
noticing is it's not really perfectly
centered on that screen. Let's go ahead and
go to our layers, swipe right on all of these guys so that
they're all selected. Then go to your transform
tool, which is the arrow. And let's go ahead and bring
it up just a little bit, so it's perfectly
centered on that screen. Just a slight adjustment. Again, arrow, again, we
finish that transformation. Now you can see
that it's perfectly centered here. Let's
go into our layers. I want to add a
background color. I want to use that light cream. So select background
just by tapping it once. I'm going to hit that cream. That looks really nice.
You could do navy, red. You can explore a bunch
of different colors here. I love using backgrounds like this because you can have a
lot of different options. But, yeah, I want that
cream from that palette. Let's see how that's
looking. Really nice. So now that's just kind
of a rough and quick way to show you how I approach
hand lettering in Procreate. One more thing I
want to show you before we end this
lesson, though, is going to be
showing you how to adjust color pretty easily. So let's go to our layers. And let's say we
want do what you, the pink version to
be a different color. So we select that layer. Then let's go to
our adjustments, which is the magic wand icon, and let's go to hue
saturation and brightness. We can toggle that
scrubber along the hue spectrum to see what a lot of different
colors are looking like. Let's go all the
way to the left. Oh, you know what? I
kind of like that blue. It plays off that
navy really well. And let me bring
down the saturation, so it's not too overwhelming. Bring up the brightness. Here's full white, full black. Probably something
around 53% that looks nice. All right.
That's pretty cool. Let me go ahead and
get out of there. I'm just going to hit my brush. If you want to see
what it looked like before, two fingers. It took a couple of times. Sometimes my fingers don't
connect on the screen. And if you want to
see what it looks like with that color,
three fingers. So there's the blue.
And there's the pink. Blue. Pink. You know what?
I kind of like the blue. Let's do three
fingers and keep that blue there. It
looks really nice. So just keep in mind whenever you're playing with
color like this, you always have flexibility. You could always kind of
change those colors later on. But that's one of the
reasons why I like to keep colors contained all on their own individual layers so that only that color
is being changed, nothing else in the
composition is. Alright, let's go ahead
and just for fun, go to actions video. Let's watch that
time lapse replay. These time laps replays are amazing for sharing
on social media. Video usually does better content wise than
just still frames, especially on Instagram
and Facebook. So these are great things to
share with your audience. You know, in addition to being prioritized by the algorithm, it's also showing people your process that
goes into something, how you started with
sketches and then wound up with this final
beautiful illustration. So keep in mind, let's go
back to actions, video. You can export these
time laps videos and send them right to your phones that you can share
on social media. But for me, I want to go
ahead and click Share and export this as a flattened
JPEG to my Macbook. Here we go. Coke Mat Book P. I'm also in addition to
sharing the JPEG with myself. I'm also going to be exporting that PSD because that will
keep all those layers intact. So that gives me more options if I want to be editing
it in Photoshop. PSD stands for Photoshop file. Cool. All right. Let's
go ahead and move on with our next illustration.
7. Textured Citrus: In this lesson, we'll be creating some abstract
citrus shapes. And the goal here is learning
how to use textures on contained shapes plus
texturizing backgrounds. And we'll be using citrus as our motif for a couple
of different reasons. One, it makes sense. The rinds on oranges,
grape roots, and lemons have such
excellent bumpy textures. That's going to translate
over very well with our texture brushes and
procreates. And two. Just like we focused on a
tropical theme earlier because tropical motifs are on trend
in the summer, so is citrus. I can't tell you how many
requests I've had from licensing partners to create collections of citrus
inspired motifs. One of my partners even created an entire collection around some of my citrus watercolors, and Barnes and Noble just picked up the spiral
bound planner. If you subscribe to the
Society six email newsletter, you've probably been seeing
their trend reports. In the summer, those reports are filled with citrus designs, color palettes, the works. A quick note on trend tracking. It is an incredibly
valuable tool. I incorporate trend research into nearly all of my designs. After all, I want to
create artwork that will sell well and generate
income for me. If you want to learn
how I trend truck, check out my previous course, how to discover profitable
design trends before anyone else and create
artwork with mass appeal. All right. Let's go ahead and dive right into our projects. I'm going to start a new canvas by clicking the plus
on the top rights. Let's go ahead and keep
this theme going and do this large square 27 by 27 ". Alright, first things first. Let's go ahead and
open up our palettes. So I'll tap that circle
on the top right. And the palette I'm looking
for is called Juicy. Oh, here we go. It's
the sky right here. There's a lot of
colors within here, so you have a lot of
options to choose from. And I'm going to start with
this kind of light yellow, the lighter of the
two yellow options. And then I'm going to
go into my brushes. And the brush we'll be using for this one is Lisa's pencil. So this will be our
starting brush. So with that selected,
I'll tap out. I'm going to zoom in a bit. Let's see how this size looks. Let's go a little bit bigger. So two fingers to back up. I'm going to bring Lisa's
pencil all the way up to 100%. And I'm going to
bring that opacity back up to 100 as well. Now, I'm just going to
start drawing some shapes. So I'm going to do some
circles, varying sizes. I'm going to zoom out a bits. We have some more
options for scale here. Maybe we do one where
it's like a half. We'll just do the rind for now, and we'll fill in
the rest later. And I'm going to
make a new layer. So tapping those
overlapping squares, hitting the plus sign. And with this new layer, I'm going to fill in kind of
that more reddish orange. So again, just making circles, nothing has to be
absolutely perfect here. We're just kind of getting
in a basic idea for shapes. And I want to add a little bit more orange
down at the bottom. So I'm going to
open up my layers, select my orange layer. And here's a quick tip. If you want to
select a color from your artboard and not have to go all the way back here
to your palettes, there's this little square
over here on the far left. Go ahead and tap that, and you can see the circle up here. This is the sampler. So
I'm going to click this, pull it over and sample
from this orange. And as you can see, up
here on the far right, my palette has changed
to that sampled color. This is something
I do all the time because instead of having
to stop what I'm doing, go to palettes,
select a new color. All I can do is just click here, sample from the parts of the
screen and I want to sample. It's just a lot easier to do. So let me continue drawing
a few more shapes in here. Oops. It's a little
too matchy matchy. One more. Perfect. This
looks pretty good. So these are going
to be all of the ris or those peels of
the citrus shapes. Zoom in a bit. And now it's time to add some
texture to them. So I'm going to open
up my palettes. And before on that leaf, we added texture by making a separate layer above it and then using
that clipping mask. So we already know
how to do that. Remember what that
clipping mask does. Here, let me show
you real quick. Is it means that
whatever you draw, will be contained to the shapes
of the layer beneath it. So in this case, these
shapes are being contained by this layer because
there's a mask in place. So whatever you draw, you will only see it on that
layer immediately under. So this is what we already did with our leaf illustration. So we know the way to do that. So we're going to do it in a slightly different
way this time, so you can learn a couple
of different techniques. So first, let me
delete that layer. So, first, let's go ahead
and grab our texture brush. So go to your brush library, and we're going to be
using salt shaker. This is another one
of Lisa's brushes that she's given
us for this class. So thank you, Lisa.
Yeah, salt shaker, it provides a great texture, and it's going to be really
good for the citrus. So have that selected.
Go ahead and tap that side of the screen to
close your brush library. Okay, so opening up our layers. What we're going to be doing,
I mentioned it before. We made the layer above it. We did the clipping mask. Let's do something
different this time. So go ahead and tap that layer once and turn on Alpha lock. So just tap that once. And now Alpha lock is
turned on on that layer. And the way that that's
indicated in our layers panel, as you can see this slight checkered box behind our layer. Anytime you see checkered boxes in adobe programs and procreate, that usually indicates a
transparent background. And it's the same thing here. So what that does is, okay, don't follow this
step because I'm just going to show
you real quick. Now with that layer selected, with Alpha lock in place, you see that check
mark next to it. It's that same concept. So whatever you
draw is contained within the shapes that are already existing on that layer. So pros and cons
real quick of using alphaoc instead of using
the clipping mask, Alphaoc is good because you don't have to
make a new layer. So if you're already kind of crammed first s base on layers, AlphaC is a really
great compromise. The con here, though, is when you keep those
textures on a separate layer, it just gives you some more
flexibility in editing. So if you decide later, you want to get rid
of the textures, you can and your basic
shapes will stay the same. But when you do that texture
on top of the shapes, everything gets
flattened together. So, You know, I honestly
use both interchangeably. If I'm working on a
much smaller artboard, and I have a lot more
room with my layers. Like maybe it lets
me add ten or 15, then I'll add the
clipping mask above it, just to, you know, have
some more wiggle room. But if I'm working with a big
artboard like this, 27 27, and I'm already kind of crammed
for space on my layers, then I'm going to do Alpha lock. So those are the two
ways to get textures. But for this one, let's go ahead and stick with Alpha lock. So let me go ahead and two
tap to delete that step. Go back into my brushes. Like I mentioned, salt shaker, will be the
brush for this one. So go ahead and have that
selected quadruple check that we're on the correct layer. Tap that once. Let's
make sure Alpha lock is in place. Everything
looks good to go. Let's go ahead and
start brushing, so make sure that
brush is selected. And now what we're going
to kind of do is fill in some texture on these shapes. So the really nice thing
about this brush here, salt shaker is it's
really nice and subtle. It's a great texture
to work with when you don't want to
be too overwhelming, but you still want to get
some nice texture in there. So what I'm doing
is I'm just kind of going over and over again
and picking up my pen, putting it back down on the
screen and kind of building this texture layer slowly on top of it to give this round, I guess, this is an orange or a grapefruit a little
bit more dimension. I'm going to zoom back out, do that for some of the others. So I'm not applying the
texture to this entire shape. I'm just doing it kind
of here on the edges, so it looks a little bit
more three D. So again, I'm picking up my pen,
setting it back down, picking it up,
setting it back down. If I just leave my pen touching the screen
this entire time, it's not going to build
up the same way it does when I start a
new stroke every time. So let's go ahead and fill in
some texture on these guys. In this case, I'm going
to add most of it to the bottom. And same here. So again, picking up my
pen, setting it back down. I'm also putting quite a bit
of pressure on here as well. You know, I'm not going to
break my screen with my pen, but there's a fair amount
of pressure getting put down on the screen
right now with this pen. I'm going to build it
up a little bit more. Cool. So now you can see
that's a really nice texture. It's added a little
bit of depth to this illustration before
it was fairly flat, but now it looks like these are really round ball
shapes, which is nice. And I've only added this
texture to the orange ones, because remember, these
are two separate layers. One more thing I
want to do is change my color palette to
white. So let's see. Within juicy, I'm going to select this white
on the far left. And this is going to be kind
of a highlight texture. So now I'm going to
do the same thing add a little bit up here. So we have that darker
edge on the bottom left corner and this
whitr edge on the right. And this is just really helping us add a little
bit of dimension. Cool. If I want to
be a little crazy and make this a bit
more unexpected, I can pick a dark color like maybe one of these
kind of denim blues, and let's see how
that looks in here, just really slightly
on the far edge. I'm actually going to
bring that brush down to about 26% and then add a little bit of navy to
these very far bottom corner. And again, this is just
helping us with depth. And it's also making for a more interesting
texture composition, these numins you can see. So we have these
three different kind of colors of the texture. We have the white where the
light is supposedly hitting, and we have this kind of darker orange that helps provide some depth
into the peel. And then we have this
dark navy down on these corners that are almost look like the shadow
for these oranges. Yeah, I think this came
together really well. So let's go ahead and
do the same thing now for these darker
orange peels. I'm going to go to my layers, tap layer two once. Go ahead and turn on alpha lock. You can see alphaoxon
because again, we have that grid
behind our thumbnail. And let's decide
what color to use. Let's try this kind of burnt
sienna color right here. Kind of the brown next
to that bright orange. And I'm going to
do the same thing. Oops. Let's bring it back up to about 100 and I'm just
going to lift my pen, set it back down, lift it, set it back down and kind of build some depth
within these circles. And here, I'll just
do it on the bottom. Cool. Now, let's put
some highlight areas in. I'm going to select that same white and same thing as before. Just kind of apply that white to these kind of upper
right hand corners. And again, you know, there's no wrong or
right way to do this. When you're working
with texture, you know, the whole point is just to be pretty fluid and loose with it. And same thing
here, I want to add one color that's
slightly unexpected. Let's go with this
bright, blushy pink. And I'm just going to add
that up here at the top. Let's see how that looks. Oh, yeah, it's nice and subtle. It kind of bridges that darker texture with the
lighter white texture. So I'm just going to add
a little pink in here. Can I just scribbling it in. Cool. Really like
how this is looking. Again, we can see a lot of really nice depth within these shapes and
this texture now. Alright, now it's time to add some wedges within these shapes, these, like, kind of side peels. So for this, I'm going
to go to my brushes, select Lisa's pencil again. You know what? I think I'm
gonna keep that rosy pink. I really like that. Let's
see how big this is. Oh, here's a little reason
we have alpha lock. So as you see, I'm
trying to draw, but nothing's happening,
except over here. This is why it's important
to always check your layers. Let's add one layer above this. So, you know, if any
time you're drawing and nothing showing up and you've been working with Alpha lock, chances are, you just forgot
to add that layer on top. So I do this all
the time. It's just kind of a thing to kind of
keep in the back of your mind, always kind of go through, check your layers and make sure you're working
on the correct layer. So, you know, I
pressed the plus sign, started a new layer. And so now this layer is going to be above
everything else. So whatever we draw, It's going to cover the
rest of the shapes. So two fingers to undo. And I'm just going to
bring that brush down to about 34 looks great. I know I'm just going to draw in the wedges for I guess
this is a great fruit. And the reason I'm doing these
wedges on a separate layer is because I don't
want that same texture to be going on top
of these wedges. This texture is just for
the rinds of the citrus. I want these inner areas
to have no texture. None of this kind of,
like, splotchy texture applied because the inside
of a citrus is very shiny. It doesn't have that same sort
of rough peel on the edge. All right. I'm going to do
the same pink right here. And I'm just kind
of filling this in. Remember, our other fill in
option was to grab this guy, bring it over and release, but I don't want to
do that because I want to have that
same texture within. So minus those two, and I'll just fill
it in manually. And for this guy, I'm
going to change the color to yellow and fill him in. Alright, I think that's
looking really nice. We have a very nice
texture on these peels. We're not repeating that
texture on these inner areas, and that's just a
conscientious design decision. And, yeah, it's
feeling pretty good. So one more thing I want
to do before we wrap this lesson up is add some
texture to the background. So let's go ahead and
open up our layers. Cool. We've only
used three layers, so we have some room to spare. I'm going to click
that plus sign to add a new layer and I'm going to press and holds and bring this all the way
down to the bottom, so it's just above
that background color. And this will be
the layer that we add some texture to
that background. So first, let's go ahead and
tap our background layer. And within that juicy palette, I'm going to choose this
kind of off white color. So I'm going to go
into my layers, make sure this
layer is selected. Change my palette to
that exact same color, that kind of tan color, go to my brushes
and select roasted. Roasted is a brush I
use all the time for the backgrounds that really adds a lot of depth to that canvas and makes it more interesting. So right now, my brush color is the exact same color
as the background. So if I were to start drawing,
You can't see anything. And the reason that's happening is because that brush color, again, is matching
the background entirely. But don't worry. This is completely intentional,
and I'll show you why. So let's open up our layers. You can see that there's
something on this layer, but it's just not
showing through because these tones
match completely. So what we want to do is
change our blending mode. So remember N, that stands for normal a normal blending mode. Go ahead and tap that N. And we have all of our blending
mode options here. So the blending mode I want
to use is up here at the top. It's called multiply. And now you can see
that brush stroke. It's been multiplied on top
of that background color. And remember, what
multiply does as a blending mode is it combines
those two colors together. And since we're using
the exact same color, what it's doing is it's making
it a little bit darker. So now, when we
go to our layers, there's an here that
stands for multiply. It's no longer an n, which stands for normal. So I'm just going to
get my brush selected, tap out and start adding some texture back here on
that multiply blending mode. Remember, this is a texture where you have to continuously pick up your brush and then set it back
down on that paper. Cool. That's looking
really nice. It's a little too
dark for my taste. So I'm going to go back into
my layers, click that M, and I'm going to bring that
opacity down to about 40%. So now you can see
it's much more subtle. Here, let me show you this
is without that layer. And this is with that layer. So it's not too overwhelming, but it's enough texture in that background to add
some visual intrigue. And the last thing I'm going to do is go up to my top layer, change my brush to let's go to sketching to peppermint. I
think the color for this. I'm going to use this dark navy. And I'm gonna add my signature. Always, always, always
sign your work, especially if you're
sharing it on social media. You always want to get
credit for what you did. Alright, so that is
our lesson on adding textures to these kind
of fruity citrus shapes. I've got one more
lesson for you guys, and it's all of the
additional resources that I recommend with procreate, with pursuing art, creativity, entrepreneurship, all that jazz. So let's go ahead and die in.
8. More Resources: All right, guys. Thank you so much for taking
my class today. I hope you learned
everything you need in order to take your procreate
skills to the next level. And I've got a few
additional resources that I highly recommend. If you want to take some
actionable steps towards a career or even side
hustle licensing your art, I recommend checking
out my previous class, a step by step guide
to art licensing. Sell your first piece
of art work online. In this class, I explain exactly what a career in
surface design looks like. This class is filled with actionable steps that help
you make your first sale with artwork online as well as boosting sales if
you're already selling. If you want to deep dive into a creative skill based class, check out another one
of my previous courses, modern patterns from
sketch to screen. In that class, I'll show
you how to easily create professional quality surface design patterns in photoshop. This is the perfect class
for you if you've ever wanted to turn your hand
drawn art into a pattern, and it's actually
incredibly simple. In that class, you'll
learn the basics of transforming your sketch
into a digital pattern. And by the end, you'll
know all the techniques to create gorgeous trend patterns
out of your own artwork. And last and not least. Marketing. If you're an artist, designer, photographer,
content creator, or really any sort
of visual creative and you want to amp up
your Instagram presence, check out my class growing your creative business
through Instagram. This class will help you build
your brand successfully on Instagram and it's tailored specifically to
visual creatives. All right, guys, don't
forget to follow me on Instagram at CatCok to see
all of my class updates, new pieces of artwork, and a glimpse of wherever in the world I'm
currently living. If you tag me in your
posts or stories, I'd love to see what you've
created today in this class. Plus, share your stories
from my own account as well, so all of my followers
can see too. You can also follow me on Skillshare by clicking
the Follow button uptop. Thank you so much for
taking my glass today. I can't wait to see what
you create and drop in the project gallery and Sharon social media.
See you next time.
Cat Coquillette, Artist + Entrepreneur + Educator
