Procreate for Cake Lovers: Illustrating Delicious Cookbook Art

1. Presentation: These classes ideal for those who want to learn a stylish and effective technique using markers Ipropriate, and paint with confidence. Hello. My name is Maurice De Angelis, and I'm a professional Illustrator based in London. My background is in traditional oil painting and drawing, as well as scientific illustration. I worked in the film and publishing industry for a very long time and have produced thousands of illustrations for a wide variety of clients over the years. These course is a powerful and easy way to learn a technique for creating a cookbook illustration. That can also be used in product design, architecture, and fashion. The subject of our lesson is a slice of a delicious cake that we want to color in this particular style. You can download the drawing from the resources and start painting with me as we build up the layers of sponge and cream, then paint the gage and fruits, and finally add some ink to the illustration. It's a very simple, but quite effective technique. So if you want to improve your painting skills and learn something new, then this is the class for you. So let's get started. 2. Setting Up The Canvas: Let's have a look at what we have. We have the paper where we can see the name of the cake, which I completely invented, some description below the name, and at the bottom of the page, we have some cooking instructions, which will eventually continue on the next page. Then there's the drawing. And the color of colors that we're going to use. We use four colors for the spongy parts, these three colors for the fruits, these two colors for the ganage, and finally black for the outline. For this class, we'll be using a brush called Marker, which can be found in the inking library. The maker brush produces something like this, but we want to change a few settings before we start. If I do that, I select the brush and get to the settings by clicking on it. The shape is the first thing I want to change. I can go to edit, port, and choose source library. I can scroll down in the library until I find a stamp called calligraphy number one. I will go with that. I also want to change the scatter to non. Then I want to go to the rendering tab and change the rendering mode from intense glaze to light glaze because I don't want a very aggressive brush, but rather something a little more delicate. The apple Penzil and proposes remain unchanged, so I can click done. If I test the brush now, I get this effect, which is exactly what I want because that's similar to a panton effect. Also, tilting the pen produces a more transparent result, while painting perpendicularly produces a more intense and visible result on the paper. Another important feature of this brush is that when I color without releasing the pen, the ink does not ado, resulting in a consistent glaze. But when you release the pen and start coloring again, the ink is added, resulting in a stronger effect. It might be difficult at first, but as you get used to it, it will become easier to master. To make things clear and consistent, let's duplicate this brush first. Then go down to about this brush and rename it Market cake. Then you can click on create new reset Point, and by doing so, you can always reset all brush settings and that will revert to the amended brush that we set up before rather than the original one, if that makes sense. Now we can get started. In the next lesson, we're going to make the cutouts of the cake. 3. Making the Cutouts: First of all, we want to make some cutouts to make use of the clipping masks. Without renaming anything for the time being, we can create a new layer and switch to a brush called monoline from the calligraphy script. We can reset the settings, A monoline does something similar to this, which is a little too large for us. I would like to reduce the brush size to about 3%. I want to draw the perimeter and then fill it with this color, in this case, gray, but you can use any color you want. Let's get started. Now I want to make the cats for the creamy layers. I can use a different color to make it easier to see, make a new layer, and place it underneath the sponge layers. And I can make the shapes again. Now it's time for the gnage. Same approach. I can make a new layer to go on top of things. And I can choose a different color. I now want to select the cream layer. D select, select the paper layer, and then copy and paste or duplicate. This will result in a cut from the paper that retains the texture, which is what we want. We can get rid of the shape layer and rename this one cream. I can now repeat the process for the sponge layer. I'll do select, then select the paper and cut it out. Then rename this sponge and then do the same for the ganage. Select the paper, copy and paste. Place the gage on top of everything, delete the shape layer, and rename it appropriately. Finally, we have the cts associated with the corresponding layers, as well as the paper underneath. In the next lesson, we're going to color the sponge. It. 4. Painting the Sponge: Now we start with a sponge, so I'll make a new layer called sponge colors and add a clipping mask. It's time to choose the marker cake brush. I want to color this layer with this brush without releasing the brush. So you want to fill this area in one go. As you can see, I'm not going overboard because I'm essentially painting on the clipped mask layer. I can't repeat the procedure for this pink sponge here. And then for the yellow creamy sponge near the top. And now I want to reselate the light blue color because I want to add some shading, but I want to reduce the brush opacity to around 50%. I want to rotate the canvas to correspond with the movement I'd like to make. So I can add these lines and gradually build up the shades I want. I can do the same with the pink and yellow sponges. You can see that the typical look of marks is emerging. In the next lesson, we're going to paint the cream layers. S. 5. Painting the Cream: Now we want to paint the cream layers, so we can make a new layer with a clipping mask and call it cream layer. We choose this very bright color, go back to 100% topacity, and add this creamy color. Like this, and like this. Go back to 50%. We can selate this color here, stealing from the ganas color set. As before, I want to rotate the canvas as I find it easier to paint in this manner. But this time, while I'm adding the shades, I want to create a bit of ture by moving in a different way than before. So I want to paint a bit in a way. I'll do the same forget it, too. I. Then I'll be able to start reinforcing some areas with more color. I may also want to add some dots here there in order to differentiate the look of the two layers. I can also add some shadows behind the dripping gage, which will increase the level of detail and description, even if we're working with a sketchy illustration. For the sake of consistency, I'd like to add the cast shadow to the sponge layers. With a few strokes, I can give the impression that the ganache layer is casting a shadow on the bits underneath. I would especially like to add these shadow treatment to the yellow sponge because the gage has some thickness. In the next lesson with K D ganas. 6. Painting the Ganache: As you can see, it's now time for the ganache layer. I'll make a new layer with a clipping mask. Rename ganache color and revert to 100% to opacity. We want to start with this yellowish creamy color as a base, and I want to paint this layer all at once. So don't let go of the brush. I That's it. Now we can reduce the opacity to around 50%. And with this color, we want to start shaping the dense liquid here so I can start defining the drips on the side. And a bit on the top. And now I can change to this chocolate color here, which is quite warm. Because it's darker, I can reduce the opacity even further to about 30%. With some decisive strokes, I want to start defining the area of the gag and gradually begin building the shades and the volumes by how the light would interact with this type of semi dry or semi liquid dressing. As usual, I want to maintain control. I don't want to overdo it, but I always make a continuous assessment because I don't want this layer to be overworked in comparison to others that may be less descriptive. Again, you can see there is gradually taking shape. I can feel the gravity of the dripping bits that are condensing. I want to reflect these aspects into the painting. And then closer to the fruits, the tones get darker. I think for the initial treatment, this is enough. In the next lesson, we're going to paint the fruits on top of the gage. T. 7. Painting the Fruits: We can now make the cuts from the fruits. I can create a new layer, choose this red color, and use the monoline brush. I can make the first shape by starting with the raspberry in the background. I can then go back to the strawberry on a different newly created layer and repeat the process. Then I can repeat the process for the remaining elements, selecting the appropriate colors and creating the necessary layers. I believe I can feed the three blueberries on only one layer. I need to make the paper cuts after I made the shapes so I can start with the blueberries, do select, select the paper layer, and copy and paste, and rename the cuts accordingly. Then delete the shape, and I'll do the same for the existing fruits layers as shown here. After that, I'd like to move the cats on top of the cake. Beginning with the blueberries, using the violet color from the palette and switching from the monone brush to the market cake. We can make a new layer with a clipping mask. I want to set the opacity to two 100% and apply a first coat without releasing the pen. Then with the opacity reduced to 50%, I'd like to quickly apply the second coat moving in a circular motion because we're working with a spherical object. Go back to the raspberry, make a clipping mask layer, select this red color here and bring back the opacity to 100%. I'm going to apply the first coat, reduce the opacity to 50%, and now considering the physical texture of a raspberry, which is quite uneven and blobby. I want to try to convey this kind of feeling by painting in a way that can record that. I'll do this by using a series of strokes that are released each time, as you can see, and this is to a texture. Now I can do the same with the other raspery. And now using the same color, I can paint the strawberry, giving you a slightly different texture, as well as the cas, which is the green bit on top of the fruit. I'm going to move the colleges to be on top of the strawberry and quickly define some shapes between the cavities of the small leaves. In the next lesson, with add some overall details. A 8. Adding Details: We can now clean up the layer stab because we don't need the clipping mask separate from the painting layers, so we can simply pinch the layers to merge them. We now have them as individual layers. What we want to do now is create some highlights with a white color, and we start with this blueberry here. You can adjust the brush size, and I think I'd like to make it a little smaller, as well as reduce the opacity to 40%. With this color, I'd like to add some brighter spots. Simply rename the layer highlights, and we can use this layer for all the fruits instead of creating a new layer for each one. Once that's done, I can make a new layer for the sponge, and maybe this timber will be useful to make a clipping mask because the sponge is much bigger than the fruits. I can increase the brush size to about 17%. With this color, I just want to add a few lines. It's not making a huge difference, but I think it looks nice and add some dynamism in to the illustration. And I can actually merge this. I believe I can combine all the fruits at this point. Now it's time to add some lighter tones to the gage, so allow the new layer and a clipping mask. Here, we mainly imagine how the lights would reflect on this organic matter. Perhaps imagining that is almost liquid because the chocolate was poured down just moments ago. This is fine in my opinion, as I don't want to do too much. Now for the cream layer, let's make a new layer with a clip mask, and from the market brush, let's swap to the flakes that you can find under the spray paints library. We can probably grab this dark chocolate color and test the brush. I think it's two small, so I'll increase the brush size a little, like 14%, and maybe also reduce the opacity to about 50%. With these settings, I can brush several times until I see a texture coming through. As you can see, it's not as present as before, and I like it, so I'll merge these two layers together. Now that about the deflex pas, I think I'll add some more das with the market at a low opacity of around 30%. I'd like to better define these layers. I'll do so on a new layer. And as you can see, this is a very light treatment. I can now switch to white and add some white spots. And I believe this will be enough. In the next lesson, we're going to nd the illustration by making an outline and adding details. 9. Inking: We can now call the painting process complete and move on to the inking phase. To do so, I'd like to create a new layer on top of e thing that I can rename inking. For this step, we want to choose the darkest color in our palette. We use the studio pen brush for this. I'll just reset the brush setting so we can start from the same point. With the default settings, you will get something like this. The nice thing about this brush is that the thickness is pressure sensitive. When you press, the line gets wider, and when you release, it gets thinner. I believe something around 9% is okay. Let me double check. And that's fine. It's all about modulating the pressure to achieve fatter or finer lines along the curves. You can increase the amount and pressure of stream line if you want. But generally speaking, this is what you want to do by also creating some line insertions because it's not just an outline or perimeter, but a line that also describe some des inside. Following this principle, I want to make the cream in this manner, and I want it to look fun and jo. I can now join the pieces together by drawing lines on the sponge and moving onto the gage. Again, I want to add a level of description similar to the cream layers. Finally, when it comes to round reflections, I want to go around the highlights without closing the circles. Now it's time for the fruits. I can start with the blueberries, which have a happy face now, and then move on to the raspberries, taking into account the difference in texture between these fruits and continue in this manner. Now, I feel compelled to add some lines to the fantasy sponge, some longer lines scattered with shorter lines that can convey dynamism and movement. Also, some lines on the ganache flatter surface. As well as a description of the spot lights, I feel they need to add some description to the sponge, so I can add the circles and small bits to add movement. In the next lesson, we make some color correction. 10. Colour Correction: We can call the illustration finished, but if you want, we can add a cast shadow or background as a final step. In the case of the shadow, I can create a new layer for it, and with the brown or gray color, the choice is entirely personal. With the marker, you basically want to create some decisive strokes that tend to be darker closer to the base of the cake and fade out as they get further away from it. And that's it. As usual, you can adjust the saturation or hue of an element at this point. For example, I can increase the saturation of the fruits. I can increase the saturation of the ganache, but I want to control the level of it because when the appearance changes, the element can be something else, such as caramel instead of chocolate in this case. The same is true for the sponge or any other element. The very last thing you want to do is to have the texture of the paper visible through the illustration. To do that, you can merge all the layers together. You might want to duplicate the entire artwork in the gallery and open the duplicated version. Then we can switch the layer mode to linear burn, and now we can see the texture popping through, but the entire painting has become darker. To correct this, we can use curves and simply increase the brightness by adjusting the midpoint. So the illustration is now finished. In the next lesson, we're going to take a look at what we achieved in this class. 11. Recap: Here we are at the end of this lesson. We started by setting up the canvas and making the first cutouts to use the clipping mask function, which is very useful. Then we color the sponge and cream layers, treating them differently to reflect their unique texture. We then painted the ganage and the fruits on top. Finally, we unify the illustration with some ink. As I always say in my classes, consistent practice is key to becoming a better artist, and this applies to everyone from beginns to established artist. Don't be discouraged if it doesn't come out perfectly the first time. It will get easier as you become more familiar with the process. If you enjoy this lesson, feel free to check my other classes where I cover everything from painting fruits and vegetables to animals and reproducing all master paintings. I hope you enjoy this class and I look forward to seeing you in the next one. Thanks for watching and goodbye.