Transcripts
1. Intro: Welcome to Class!!: You are looking to draw
an original character or maybe you just want to paint your favorite
book characters. I think Procreate is a really
great program to do so. In this class, we're
going to go over the basics of Procreate
step by step. We're going to cover everything
that you need to know to create illustrations
that you love. We will talk about how to use layers in Procreate to simplify We are also going
to go over how to use tools like Gaugin Blur, Bloom, chromatic aberration to enhance your illustrations. I'm also going to
show you my step by step painting process
in Procreate. So you can sort of
get an idea of what a painting process in
Procreate might look like. And we'll also have a class project where you'll be creating your own character
illustration using some of the tools that we
learned about in the class. This class is designed
for total beginners, so don't feel like
you have to have any prior experience,
anything like that. If you don't know
me. Hi, I'm Brandi. I'm a digital artist
in Illustrator. Been using Procreate for
over five years now, and there is so much
that I've learned, and I can't wait to share
what I've learned with you. I hope to see you in
the first lesson.
2. Procreate Basics: Gaussian Blur, Bloom, Chromatic Aberration: Hello, and welcome to the first lesson of
the Skillshare class. I'm Brandi. I'm really
excited to have you here. We're going to start with
just going over the basics. I just want to make sure that we are all on the same page. Even if you've used
Procreate before, there might be a good
chance that there are some little tips and tricks that you might
not know about. So I still recommend watching these videos just to make sure that you
don't miss anything. And if nothing else, it's
just a good refresher. So, I'm just going to
start by going over some basic tools in
Procreate that I use in my painting process that you might find useful in
your own illustrations. And first up is the Lasso tool. I use this tool a ton
when I am painting. You can find the Lasso tool up in the upper left hand corner. It's the third little
circle from the left. And whenever you press this,
this menu will pop up. I usually have mind
set to free hand. Sometimes I will use rectangle, but typically, I just
leave it at freehand. And whenever you want
to make a selection, you can just draw on the screen, and this little dotted
line will appear whenever you are done selecting, make sure that you press that little gray circle because that will
complete your selection. If you don't, your Lasso tool will start going
all over the place, so make sure you
complete the selection. You can use the Lasso Tool for all kinds of things
whenever you're painting. You can use this to select an
area that you want to move. You can select an area with the Lasso tool and then
use the selection tool, which is the little cursor
right beside the Lasso tool. And this will help you move parts of your painting around. You can use either freeform, original, distort or warp and this will do various things to your selection that you have. One thing that I like to do with the Lasso tool is sometimes
I will turn on color fill. And what this does is every
time you make a selection, this will actually
automatically fill in that space with the color
that you currently have. So if you wanted
to really quickly fill in a bunch of
area with paint, you can turn on the color
fill and do it this way. If you have a bunch
of small areas that you want to fill in
with color really quickly, turn on color fill and
use your Lasso tool, you can very quickly add color to your
painting like this. Another cool thing with the
Lasso tool is if you have color fill turned on and
you have your selections, you can also change the color of these selected areas by just clicking the color up in
the top right hand corner. It will change the color of your selected areas
all at the same time. And if you want to make
multiple selections, all you have to do is
finish your selection, so make sure to press
that gray button. Then you can just tap
on your screen and it'll automatically
start a new selection. So you can select several
areas at once this way. Some other tools that
I want to mention, first up is the Gaussian blur. I love to use Gaussian blur
for a gradient effect. If you love to have
gradients in your paintings, but you hate that Procreate doesn't have a gradient option, this is a really
good workaround. So what I usually will do currently my layer is
actually alpha locked. We will talk about Alpha
locking in another lesson, but I can take my Lasso
tool and select this area. And then what you're
going to do is go down to Gaussian blur. And what I can do
is take my finger and slide it across my screen. I can make the blur effect
either more or less intense, and doing it this way, I can get either a more or
less intense gradient effect. And with a lot of
Procreates tools, you actually have the option
to effect the entire layer, or you can use the
pencil mode and just basically draw where you want
the effect to take place. In this case, I am just going to use the
layer as a whole, and it's only going to
affect my selected area. Another tool that I like to
use is the Bloom feature. For bloom, I usually
use this if I have a rim light that I want to add a really pretty glowy effect. So to use bloom, I will just
go to the bloom effect. Usually, my rim light, I
put on a separate layer. So again, I'm just going to
use the layer mode for this. I can just take my finger
and swipe it across, and it will either have a
more or less intense effect. There are some sliders
at the bottom here. I don't mess with
these very often, but you can just to kind of see what kind of effect that
you like and want to get. But for the most
part, I will just mess with the slider at the top. And then the last
tool that I want to talk about is
chromatic aberration. Is a really fun effect to add
to the end of a painting, and it can give some
really pretty colors and have a really cool effect. So whenever I'm applying
chromatic aberration, this time, I will actually
use the brush feature. So at the top of your screen, you'll see there's an
option for layer or brush. I will pick brush, and I recommend using a
round brush for this. The brush that you
currently have selected will be
what paints it on. So if you have, like, a
very thin liner brush, you may want to switch it
to a bigger round brush so you can cover more area. And I'm going to take
my round brush and just select small areas of my painting that I want
the chromatic aberration. And then you can see, again, there's the slider at
the top of the canvas, and again, we can just
take our finger and slide it or a more or
less intense effect. Chromatic aberration
is different from the others in that
this one actually has a gray circle in the
center of our canvas. And what we can do is actually
move this gray circle. And whenever you move it,
you can see the colors from the chromatic
aberration actually change with the direction
of where the circle is. So this one is really
fun to play around with. And what I usually
do is I will take a small section and I will use my gray circle and get
the chromatic aberration however I want. And then
what you can do is actually just tap your screen and this
little menu will pop up. You can preview
what you just did and turn it on and off
and see if you like it. You can either reset it
or you can hit Apply. And what this does is this
will apply your effect, but it will keep chromatic
aberration turned on, so you can continue to apply your chromatic
aberration without having to exit out of
chromatic aberration. Okay, so these are all of the basic tools that
I wanted to go over. In the next lesson,
we will be going over all the things
about layers. I will see you guys
in the next lesson.
3. Procreate Basics: Layer Modes, Alpha Lock, Clipping Mask: Hi, welcome back. So now
I want to go over layers. We are going to start out
with the very basics first. To create a new layer, you just go up in the
upper right hand corner, and you'll see that
little plus symbol. This allows you to
add a new layer. If you want to duplicate
or delete a layer, all you have to do is select that layer by sliding
it to the left, and this little menu
will pop up where you can either duplicate
or delete that layer. We are going to talk about Alpha locking in just a minute. But you can also alpha
lock your layer by taking two fingers and sliding
the layer to the right. Each layer, you'll see
this little N symbol. If you press that, you'll
have this little menu pop up. And this slider here is how you can turn
the opacity down. And then below that, you'll actually see the
different layer modes. I only use about three or four layer modes
whenever I'm working, and you'll see that in action in a minute whenever
we start our demo. But I just wanted you
to know this is where they are and this is how
you can access them. Are really fun to experiment
with and play around with. You can get a lot of
really cool effects with these different
layer modes. The last two things I
want to go over before we start is Alpha locking
and clipping mask. These two things I use in
every painting of mine, I use them for
different reasons, though, and let me show you the difference between the two. So I'm going to start
with Alpha lock. And what Alpha lock does
is it basically locks your layer so that
you can't create anything outside of what
is already on that. So for example, if I
have a character here and let's say I want to
change my line art to red, there are 1 million ways
that I can do that. One way I can do that is to alpha lock my layer
and then just take a large round brush
and set it to a red color and then just
color over my canvas. And you can see my line art aren't affected, but
the colors change. And that's because
with Alpha lock, nothing is going to be added to my canvas that's not already other way that Alpha
lock can come in handy is if you already have your base colors set and you
want to change the colors, but you don't want to
mess up your edges, you can set your
layer to Alpha lock, and then you can just
continue to color, and it's not going to go
outside of those lines. So clipping mask,
on the other hand, is where you create a new layer on top of
your current layer, and then when you set
it to clipping mask, it's going to clip to
the layer below it. This is similar to Alpha lock in which the layer
that it's clipped to, it's not going to go outside
of anything that's on the difference here,
though, is because this layer is its
own separate layer, you can do things to
this layer that's not going to affect
that original layer. So for example, whenever I'm adding shadows to a painting, I will actually
use clipping mask, and I will set my clipping
mask layer to multiply. And then I will take one color and paint all of my shadows. And this way, I don't
have to go and pick shadow colors for each
individual base color. For example, the skin,
the hair, the clothes. I don't have to go and pick a shadow color for
all of those things. I can take one color, create a clipping mask layer
set to multiply. Then take that one color and just color in all
of my base shadows. This is really helpful for just making your workflow
really efficient. And before we move
on to the demo, I have a very quick
word on brushes. Procre actually
just came out with a new update of their brushes, and I tested some of them out and I really,
really like them. I think they're
really good options that are totally free. You already have Procreate. So for this demo, I'm
actually going to be using some of those
updated brushes. So if you want to use
the same brushes as me, I will go over all of the ones that I'm going to use
in the next lesson. But I just wanted to point
out that you don't have to go buy a brush pack
or anything like that. You can still create
great paintings with the brushes that
come with Procreate. So with that, I will see you
guys in the next lesson.
4. Demo: Initial Sketch, Line Art: So now we're going to
go through painting an actual character in
Procreate together. I want to start just
by going over all of the brushes that I will
be using for this demo. Like I said in the last lesson, all the brushes I'm
going to be using are available on
Procreate for free, so you don't need to worry about buying brushes or
anything like that. I have my brushes in just
a separate folder here, but you can find them
in all of these tabs. I think most of them
are in the design tab. A couple might be in
a few other spots. The first brush I want to talk about is the ring tail brush. This is what I'll be using to just get my initial sketch down. I prefer to work with
a really big brush for this whenever I'm sketching because it just keeps me from getting too caught
up in the details. It sort of forces
you to only work on the pose and the general shape and positioning
of the character. For my line art, I will be
using the war tau brush. I like this brush because it's got a little bit of texture to but if you layer your brush
strokes on top of each other, it'll still get a
little bit darker, almost like a multiply effect. The last brush I want
to talk about before we get into it is the plenty brush. This is the brush
I'll be using for most of my coloring
and rendering. Any sort of effects
that I want to add, I'll usually be using
this plenty brush. There's a couple of other
brushes I'll be using. I think it's called
Raven's feather. Feathered raven or something. It's one of the soft brushes in the basics tab
throughout the painting, sometimes I will use
a textured brush, but literally any
textured brush will do. But yeah, these are the main
brushes that I'll be using. And also, I'll put
my canvas size on screen if anybody is curious. This is usually
what I start with, and then I will just
resize it as needed. You don't have to
use references, but I do really recommend it, especially if you are not comfortable with
lighting and shadow. To add a reference
within Procreate, you just have to go
up to the wrench icon up in the left corner, go down to reference
and turn it on. Then you can just add
in your reference image and sort of move
it out of the way. So I ended up choosing
this reference for the pose that
I want to draw. I liked the hand placement. I think anytime a
reference has hands, it's a good challenge for me, and I'm just going to go in
with the ring tail brush and start sketching
out my character. I think it's good to start
very loose here because we're going to go in later
with a more defined line so right now, it's not about
getting anything perfect. Again, I'm not even focusing on details at all at this point. I'm literally just
trying to get in the general where
everything is going to go. And sometimes I will use the selection tool
here and there, just to move parts
around as needed. This layer is not going to be really visible in
the final version, so it's okay if
it's not perfect. We just want to get the
general idea and shapes in. I sort of think of this
sketch phase as, like, building the foundation, and then everything else after this point is going to
build on top of that. So once I'm pretty happy with
our foundation sketch here, I'm going to create a new layer on top of this first layer, and then I'm going
to turn the opacity of my initial layer down. This is where I'm going
to start going in with more details and more of a
finished line art layer. Sometimes my line art will
only take two layers. Most of the time
this actually takes, like three or four layers. I will just repeat
this process until I get to a line art
that I'm happy with. For this demo, I'm just
going to do this twice. So this is the first one
where I'm actually going in and drawing the eyes and the nose and
all of that stuff. And then in a minute, I'm
actually going to lower the opacity of this layer and then refine the face
a little bit more. Whenever I'm working
on my linear, I always like to start
with the eyes and then continue to just sort of work my way around
the rest of the face. This is just preference,
but I've always felt like if you
can nail the eyes, the rest of the drawing
comes a lot easier. And you're also
going to see me use my pop up menu pretty
often in my workflow. Just so that I can
flip my canvas. And if you don't know,
flipping your canvas is really important for
just helping you see the mistakes in your
drawing because when our eyes are looking
at something for a long time, we get used to it. So when we flip our canvas, our eyes aren't
used to it anymore, and they haven't adjusted, so we can actually see our
mistakes really quickly. Once I have completed
this linear, I'm actually going to lower
the opacity of this layer. And then create another
layer on top and continue to build upon this first line
art layer that I put down. Every single time I do this, it gets a little bit easier because I'm basically
just building on that foundation that I set
in that very first layer. And I will just continue
to refine the lines again, and I'll also use
the Lasso tool and liquefy as needed just to
fix any mistakes that I see. And then one last
thing I'll do is go to my initial sketch layer. And just erase some of the parts that I
don't need anymore. So I will erase
the initial sketch around the face a little bit, and then parts of the hair
where I was just going crazy. Just to kind of contain
that a little bit, I'm just going to
erase those away. I don't want to erase this
whole layer because it can help give me a little bit
of texture in my drawing, and it also helps just keep a little bit of that life
from the initial sketch. When you take that
initial sketch away, sometimes it can feel
a little bit empty. So I want to keep
some of that there. And then once I'm happy
with the line art layer, I'm going to merge all of
these layers together. Then set this layer to multiply. Just to show you, the reason I set my line art to multiply is because if I were to put a
color under my line art, in this case, this is actually the same color as my line art. You can tell that my line
art just won't show up. But whenever you set
your layer to multiply, it actually is affected
by the colors beneath it. So in this case, it's
going to automatically become darker than the
colors that are beneath it. Even though they're
the exact same color, now you can still see my linear.
5. Demo: Base Colors + Shadows: So I want to create
just a basic background to work with just to get
rid of the white canvas. I'm just going to take
a purple ish color and a blue color and just use a soft brush to sort of
get a soft gradient. Ext, I'm going to
create a new layer, and I'm going to take my
Lasso tool and just fill in the entire silhouette
of my character. Going to alpha lock this layer and then start blocking
in my base colors. You'll notice that
I keep my colors pretty desaturated
in this stage. And the reason why
is because if you plan on working with
multiply and overlay layers, the more that you stack multiply and overlay layers on
top of each other, it's going to drastically
change these colors. So they are going to
become a lot more saturated and a lot darker. So if we start with very
desaturated colors first, we can slowly build these
colors up in saturation instead of starting with highly saturated colors
and then ending up with neon bright, like Upa
Lumpa saturated colors. Like, we don't
want that. So this is how we sort of not
get to that point. Try to stay within this sort of range of colors for
your base colors, and then we will increase
our saturation as we go. One last tip while I'm
filling in my base colors, a lot of times I see
beginner artists, and I know I used
to do this, too, using pure white for the eye
whites of your character. Instead of using pure white, what you can do is actually take a muted bluish gray and use
that for your eye whites. And it actually looks more realistic and more natural
to do it this way. I have my base colors down, and this is what our
painting looks like so far. And now we're going to start
adding in some shadows. I like to start with shadows
because it really helps determine my values
and just make sure everything looks okay before I start adding lighting. So we're going to create a new layer on top of
our base colors layer, but under the line art layer. And we are going to set
this layer to multiply, and then we're also going to
set it as a clipping mask. It's going to clip to
our base colors layer. I'm going to take a
desaturated reddish color. There are really two ways to
go about adding in shadows. One way is to take our
brush and just start laying in the shadows where
we need them to go or another option, and I think that's what
I'm going to do with this painting is to take our color in the
right hand corner and just color drop it
onto this layer, and it's going to put our
whole character in shadow. And now that she's
covered in shadow, I can actually take
my eraser tool erase away the parts where
the light will be hitting. This side of her
face, for example, her arms on this side, which version you use just depends on what lighting
situation you're creating. But for this specific situation, because most of her
is covered in shadow, I find this to be
a lot easier than trying to paint in
all of the shadow. I personally I think this
is a little bit easier. This method, I'm not
pressing all the way down on my eraser here. I'm using my pen pressure
a little bit just to be more gentle
in certain parts. This just helps portray light in a little bit of a
more realistic way, but it also gives me a mix
of hard and soft edges, which is really important
part of digital art. I think a lot of us when
we're first starting out, have a tendency to
overblend things, like, make everything super smooth, especially the skin
on characters. Because to us, we're like, Well, skin is very soft, right? So we use the airbrush or the
smudge tool to just blend out all of the edges because
we think of skin as smooth. But when you do this,
you're not really conveying that the skin
has texture to it. And sometimes it can
look very boring in a digital painting just
because it's overly smooth, and there's really nothing
for the viewer to latch on but when you add in these
hard and soft edges, it just helps convey texture, and it also just kind of helps add some interest
to the painting. Anyway, so now we have our base shadows and
this looks okay, but if we look at the reference, there's still more
shadows here that are clearly much darker
in these photos. So to create those
darker shadows, I'm actually going to repeat this process of creating a new setting it to multiply
and clipping mask. I'm just going to use the
exact same color I just used, except now because it's on
a second multiply layer, it's actually going to multiply again and create
even darker shadows. So I'm just laying in
these darker shadows. And then something
else I'm going to do that you'll see
with the hair. This is actually kind of cool. I like to do this in a
lot of my paintings. I will actually add
shadows to the hair, like the top of the hair
on the sides of the hair. But if I leave out
this little strip of hair here and
not add shadows, it actually creates the illusion of a ribbon of
light on the hair. It immediately looks like I
added a shine to the hair, even though I didn't
do that at all. I do this trick all the time
in my paintings. I love.
6. Demo: Lighting + Rendering: Oh, I have my base shadows here, and now we're going to
move on to lighting. I love adding lighting
to a painting. I think this is one
of my favorite parts. I'm going to take a soft
brush and just sort of take a peachy orangish color, and I'm going to
create a new layer and set it to soft light. And then I'm just going
to use this soft brush to brush some of this onto where
I want the lighting to go. You have to be really
careful here because it's very easy to overdo it. So be very intentional
and cautious here. Also, because we set
our shadows first, we want to make sure that
we're not adding this lighting way over in the shadows where it wouldn't really make sense to have this lighting. It can overlap along the edges of your
shadows a little bit. And whenever you do
that, you actually get this really pretty band of lighting of color right there that's really,
really pretty. I love using that in paintings. You just don't want
to put this in, like, really dark spots of your paintings where
your shadows are. It just doesn't
really make sense. So whenever I look at
my reference photo, I can see this very warm
bright light on the person. But I also see some
cooler shadows, these bluish tones
in the shadows, that is probably some
form of bounce light that's coming off onto
her skin and her hair. So I want to convey that. So what I'm going to do is just on the soft light layer
that I already have. I'm just going to
take a bluish color and paint in some
of this bluish hue. Also, it gives me more colors to work with whenever I
start rendering later. Another thing that
I want to point out here that I think
is really important, whenever I start rendering, you'll see me
actually take some of these bluish colors and
put them into the shadows. This gets into color
theory a little bit, but whenever you have these warm and cool colors
in a painting, it contrasts really well and it's just very
pleasing to the eye. Typically, when you see
really warm lighting, you'll see very cool shadows. I'm just painting in
a little bit of blue tones on the soft light layer just to get those cooler colors. And then whenever I
go and render later, I can actually paint some of these cooler colors
into the shadows, and it'll help give a
really cool effect. So just like we did
with the shadows, we're going to go in with a
second layer of lighting. This time, though, I'm
going to add a new layer. I'm going to make this layer a hard light layer this time, and I'm just going to choose
a light yellowish color I am reserving this layer for the brightest
parts of the light. So, again, I don't want to put this anywhere where
my shadows are. This is only going to be in the same parts where I've
already set down light, and I just want it to be
in the brightest spots. And this doesn't have to be perfect because we're
actually going to go in and clean up the edges
and all of that stuff. I just want to get
a general idea of where these colors should go. Once I have that done,
before I go any further, I'm going to make my linart
colors a little more reddish. Do this with the curves tool, but you could also
just alpha lock your line art layer and color over your line art
with a red color. The reason why I do this is
it helps make the palette feel a little bit warmer and less dull than
with black line art. But also, whenever I start
this next phase of rendering, it's going to help
give me more warm, brighter options to choose from when I color
pick off my canvas. Once I'm happy with
that, I'm going to actually copy my
canvas and paste it. This is going to put all of
my layers on a single layer, and then I will just
create a new layer on top of that to
start my rendering. And the reason why I do this
is later whenever I want to liquefy or use curves or color balance to change
the colors of my painting. It's all on one layer, so it'll affect everything
at the same time. I just prefer it this way, and this is just an easier
way for me to work. The reason why I create
a new layer on top of this layer is
whenever I'm rendering, this keeps me from rendering
on what I already have. So I can actually
turn this layer on and off to check my progress, make sure I'm happy with it. And if I'm not happy with it, I can actually just erase it, restart and do it again. If I were to put my rendering
on top of my current layer, I wouldn't be able to
go back, basically. If I didn't like something
or I wasn't happy with it, I would have to just restart, and I don't want to do that. So I really recommend put a new layer on top
of this layer. And I know it looks pretty
rough at this stage. This is one of those you just
have to trust the process. Sometimes art is just like that. I know we are going to work
on fixing some things now. So this is where we're
going to start rendering. I like to start by actually darkening the certain
areas of my painting. Usually around the
face the most, this is actually where
my focal point is. This is where I want
the viewer to look. I want my darkest
values around the face because this means people are more likely to notice
the face first. There's so much contrast there. So I'm going to take
the darkest value on my canvas and use that
color to darken the eyes, the nostrils, the corner of
the mouth, the eyebrows. And again, because my layers are all on that one layer now, I'm going to use liquefy to just fix any minor mistakes
I see as I go along. I will also use the curves tool just to change my
colors a little bit. I like to do this with all
of my colors together. This just helps make them a
little bit more harmonious. And once I've done
that, I'm going to start going around the
edges of the character, and this almost feels like I'm carving into the painting
like you would with clay. But instead, I'm just using
the colors on my canvas. So I will just color pick the
background color and just carve around the character to carve out some
interesting shapes for her hair, for example. And this is kind of
the approach that I have for rendering in general. You'll see I spend most
of my time rendering the edges of the character and her hair and also her face. I don't really worry as
much about her hands because, again, that's not
really my focal point. Like, those stay fairly messy because I want there to be a lot of attention
paid to her face. So for my rendering process, I basically am just color picking the colors
that I currently have on my canvas and just using
this to clean up any shapes, clean up any edges
that I don't like. Again, I'm also trying
to make sure that I have a mix of hard
and soft edges. This is just going to help add a little bit more interest to your painting and
just not make it feel like everything is
just overly smooth. It's going to give texture,
especially to the skin. I feel like this is where a lot of especially beginner artists, just want to over
blend everything. I know I used to
do the same thing, and it's just you
think that, Oh, it's skin, and it needs
to be smooth, but if you can add a little bit
of hard and soft edges, it will really
make your painting feel more painterly,
if that makes sense. I will also paint over my line art a little
bit at this point. And just doing this,
I think, helps. We're getting rid of
that digital feel and just giving it a
little bit more of a giving it slightly more of a traditionally
painted feel. And then also in my
rendering stage, I'm going to start adding the like, absolute
brightest highlights. I usually won't color
pick the color for this. I will actually go and find
the color that I want to use. Again, I try not to use
pure white in my paintings. So I have found
that using, like, a very bright neon blue or actually neon green
works really well. It's really cool because
it's like a bright pop of color that our brains
still read as a highlight, but it doesn't dull
our other colors the way that pure white might. So if you haven't
tried that before, give it a shot. It's
really, really fun.
7. Demo: Adding Final Touches: I am sort of getting towards the end of my rendering process, now is when I'm going
to start trying to find ways to just elevate the
painting a little bit, bring it a step above
where it's currently at. First thing, I'm going to
crop my canvas because I feel like there's just too much empty space around
the character. So I'm going to bring the
focus in just a little bit by resizing my canvas and cutting
off some of that excess. And then another
thing I'm going to do is I'm going to
create a new layer and set it to multiply. I'm just going to
take a soft brush and go around the edges
with a bluish color. You can actually choose any
color that you want for this. And what this does
is it actually helps darken the
unimportant areas. So it's going to push the focal point even
more to the face. This is helping the
face stand out more and the edges of the painting where I don't really
want people to look. It's going to help them sort
of fade into the background. You can lower the
opacity of this layer, if you want, just so it's not as intense of an effect, but you can see the
difference that this makes. And then I'm also going to take a textured brush and just paint in a little bit of texture to the background just so
it doesn't feel so soft. It feels very soft right now. And again, the more
texture that you can add, the more dynamic that you help make a digital
painting, especially. Another thing I want
to show you really quickly is how to
add a rim light. So I'm going to
create a new layer, and then I'm actually going
to set this layer to add. I'm going to take my color here. And just sort of paint in
where I want the rim light. I'm going to use my eraser and
erase a little bit of this just so I can have some
thick and thin lines here. And then what I'm going
to do is actually take the bloom feature and just add a little bit of bloom to this layer. I
don't want to overdo it. Like, I don't want it
to be super intense. But just a little bit
of bloom, I think, really helps sell that
it's, like, glowing light. It gives a really pretty effect. I also want to add
some chromatic aberration to that rim light. Whenever you add
chromatic aberration to lighting like this, I think it looks
really, really pretty. And so for the
chromatic aberration, I'm just going to take a
pencil and sort of paint in small areas where
I want the effect, and I'm going to add this
to the rim light and then sort of just fix it
where I want it to be. And yeah, this gives a
really, really pretty effect. I really love how that looks. And the last sort of thing
I'm going to do here is I want there to be a
little bit more color, especially around the face. So I'm actually going
to color pick some of the purples that came out of the chromatic
aberration that I added. And I'm just going to paint that around the face a little bit, just to add a little
bit more color, I also darkened a couple
of areas around the face. I darkened the lips
a little bit and the sort of blush
area around her, like, nose and cheeks. And I think I'm pretty much gonna call
that done for this. There's probably a lot more that I could do
to this painting, but I think it gives you I think this gives you
a really good idea of some of the really cool
things that Procreate can do and things that you can do with just basic
Procreate brushes. Like, you don't have
to go out and spend a bunch of money on
brushes or any of that. You can make pretty
cool art just using basic brushes and
the basic things that come with Procreate.
8. Next Steps + Class Project: So that is going to
do it for our demo. This is our final illustration. Now we are going to get
on to the class project. You are now going to create your own character
illustration in Procreate. You do not have to, but I would highly recommend
using some of the tools that we
learned about in the class like Gaussian Blur, chromatic aberration or Bloom. You can think of
that as extra credit if you want, but I highly, highly recommend
trying those tools out and just experimenting and see
what you can come up with. Be sure to upload your class project in the
class project area down below. I can't wait to
see what you guys come up with. I'm so excited. I just want to say
thank you guys so much for taking this class. I hope you enjoyed. I hope
you learned some things. If you did enjoy this class, you can find more
video tutorials from me on YouTube and also Patrion. Other than that, I
just want to say thank you again for
taking this class, and I can't wait to see
your guys' class projects.
Brandi Cottrell, Digital Artist + Illustrator
