Transcripts
1. Procreate Picasso - Welcome: Hi. My name is a less stuffy and I'm a professional illustrator and artist in California, and I'm super excited. You're here to take this class called Procreate Picasso, because in it we're gonna be using because of style to pain are self portrait. It's. And by doing so, we're gonna dig deeper into procreate to really learn how to get visual texture. Um, a lot of the techniques in your traditional art practice into a digital realm so they can really on brings in more dynamic visual interest texture to your digital art practice, particularly if you're already a traditional artist. It's a great way to learn these tips and tricks can really help you bridge the gap between your traditional art practice and your digital art practice. So grab your things and we'll get started, and we're gonna dig in and to make our Picasso self workers
2. Procreate Picasso - Take a Selfie: So the first thing that you're gonna want to go ahead and do if you don't already have one is to take a selfie a self portrait, cause we're gonna use this just as a reference. It doesn't have to be perfect. You don't need full hair and makeup, but maybe, you know, if you have a favorite shirt or my hair up or down, maybe go ahead and take the time to make that effort. But otherwise, you're really just kind of using it as a guide. Um, that's all. So don't be too precious about it. Just go out and grab your smartphone or your tablet and let's take a self portrait. So I'm gonna go ahead and include the shoulders. I'm usually most of his portrait, Um, or his figure to work was E se mostly, at least, you know, from the waist up. And usually the center was. His muses were sitting in a chair. There were a minimal background elements, but some. So you could also choose where you did your selfie. You wanted to use the high back chair. Um, anything you can think of that's really going to make it personal and ultimately meaningful . Okay. All right, go ahead and grab that selfie, and I'll see you in the next section.
3. Procreate Picasso - Import the Reference Photo: Okay, Welcome back. So we're gonna have a launcher procreate. And let's go with a new canvas by clicking the plus sign up here on the right. And I'm just gonna go with, um, about a paper size a four with a 300 d p. I. Which means I'm gonna have a really great resolution, a decent size, you know, paper size. You know something around this size so that if I ultimately did want to go ahead and print it, um, I'm not gonna have too bad a loss. Equality if I kind of stay those physical dimensions and that I want exported into digital for distribution. Elektronik Lee, I'm still pretty good. So I'm gonna go ahead with the portrait orientations because it's the portrait and I'm going to navigate by clicking this tool here at insert a photo, and I'm gonna sign my favorite selfie that we just took. And I'm gonna go ahead and de selected there by clicking off of this aero sign. Okay, so now we have an important or photo and I'm gonna go ahead and duplicate my layer by dragging and I'm gonna turn off and lock my original just so we have it undisturbed. Should I need to go back to it? Because we're gonna go ahead and hack this up to achieve our composition or Picasso inspired composition? Um, yeah. So go ahead and place your self portrait wherever you like. On the canvass. The scale. Usually he with this portraiture has figured of work. It was usually pretty much centered. You could do something, you know, off centered a little more with a little more visual tension. But for the sake of this demonstration, just go. I'm going to go ahead and leave it centered like that. Okay, so now we're gonna go ahead and get out Picasso ish and go ahead and select our features and reorganize our face so
4. Procreate Picasso Find Inspiration: Okay, so I've gone ahead and split the screen with my photos, my reference photos because I wanted to go ahead and have, um, some Picasso available just for inspiration. And I really liked when he did his compositions like this little bit. You know, two sides of the sitter's personality perhaps, you know, different perspectives. That was really one of the, um, exciting things and what was quite knew about Picasso on his day. So I'm keeping that after the side as a reference you can see down below. There's other options, this kind of composition as well as he worked through the eras and experimented with his own compositions that go ahead and find some of his work. That really inspires you with regards to how he broke down the Forum, because there's had such a long career, decades and decades of work that there's really just so much to pull for pull from as inspiration. But basically speaking, we're gonna go ahead now and using the select tool, we're gonna go ahead and divide up our own faces to achieve that kind of composition. That reference. Okay, I'll see in the next section
5. Procreate Picasso Deconstruct the Face: Okay. Welcome back. So you have your reference off to the side. Um, I'm gonna go ahead and go with this. I think maybe one of these ones down here I'm gonna keep this as a reference as a guide, Just his inspiration. And I'm gonna go ahead and out to my own face and I'm going to start selecting my features by It's like this tool here. And make sure the freehand option is selected down below and go ahead and select the future that you want to work with. I'm gonna trace around my eye. Doesn't have to be perfect. And then I'm gonna move it using the move tool here, and I'm gonna reposition it, um, possibly scale it a little bit up Dragon upwards. And then I'm gonna click off of that, and that's in place. Don't worry that there's a whole that spying. This is just for compositional reference. We're not going to worry about painting this or that whole were just repositioning it. That's also don't worry. Go ahead and select your other futures sickly. Second, I I'm gonna go ahead and move it again with this tool on a scale it up. Maybe a little bit to the side, something like that. And just carry on with each feature until you're satisfied with your competition. A little bits. Sometimes it won't let you, um, move it if it's a little bit too small, A little bit frustrating. But just keep working with it like a petite knows. So I'm gonna go ahead and and uh huh probably just leave it there and a pilot my mouth in place. So that's just kind of a rough start. Go ahead and play with your own phase again. Don't worry. We're gonna put our line work on top of this and turn this off. So you're not even going to see that anymore? It's just really for you to try to explore iterations of composition until you really find one that expresses your personality. You know, just and also aesthetically, you find very pleasing. So again, Don't worry. Um, you know about destroying your own photograph, because you have that, um, original below. So you can even you know this is one. This is one iteration of composition. I can turn it off. I can go out and duplicate the original again. And, you know, key try it again and try maybe three or four or five versions of it until you know, really, really push your limits, You know, really, really exaggerates. Um, your features, because there's absolutely nothing. You know, you're not wasting materials. You're not wasting any pains. Um, you know, you're totally just exper experimenting at this point. So be braved and just go ahead and take the time and have patients and keep exploring with with scale with, um even, Maybe I might even explore with just elongating the neck. Super long neck, maybe. Yeah, I think I might actually go with that one Simon experiment. Um, I might do maybe three or four more, just to kind of really, really playing and, you know, keep trying things that I maybe wouldn't have traditionally thought of that are even, um, you know, combination of some Picasso inspired our for our work, that kind of thing. So take your time, make a couple layers explorer, and we're gonna add our line work in the next section.
6. Procreate Picasso Linework: So as you can see, I've gone ahead and I have explored even further dividing at my face to make a composition that I like. Um, I couldn't imagine that down a little bit. And now we're gonna add r R line work so you can delete some of the earlier iterations if you want, or you can just keep him. That's fine. Um, but I'm gonna go ahead and lock this and I'm to create a new clean layer above it. It's going to be doing our line work on a layer above this thesis example. So I have also included in the materials some of these brushes that I'm using in a process inspired brush set appropriate and what's in the course material to go ahead and go ahead and find that and install the burst set. Um, I like to start with I'm a pastel stick. It's called pastel stick in black and I'm ill lower just a little bit. And I'm gonna go ahead and just do a rough outline of the features. He always did a really strong Well, not always but in these particular works, really strong black outline. Um, and that's what I'd like to cheat today to, um in this example, he doesn't, But there is still a strong line, almost outline of the features. So I will go back to this reference and kind of do, and as you can see as well his line work was it wasn't solid. It was definitely textured. So whether he used, you know, uh um a loaded round brush or if he did use some sort of oil pastel not entirely clear in this particular example that something like that, um, with a lot of texture. So go ahead. And in your own self portrait experiment with, um, your lines whether you outlined every future, you know, I'm actually go ahead and change my brush to dry hog bristle. That gives me some texture when I have bangs. I'm trying to figure out how I'm gonna want to portrayed that you can experiment with health. How detailed you want your figure to be. You could certainly turn off your under layer so that you can see how it's going. You also lower its capacity to by clicking, you'd have to unlock it first click on the end and Louis capacities that it's not quite so distracting. Just be sure to go and lock it back, though, so that you don't accidentally paint into that. Because once you do, you can't separate. You're drawing. You're painting from that layer. See, Like I just did. If that wasn't locked, I would have painted into it. I think one of the thing the hardest things about imitating his style is to make it, um you're not quite so cartoony. And some of that I think in, you know, in practicing the style, I found his varying your, um, your breast size. I mean, usually his brush weight. His language is pretty consistent throughout, but there are some. It's not truly consistent cause you can see it's lighter thinner here that's missing here. It's not in this nostril. You know, there's some variation that makes it look a little less, you know, a little less outline. Um, and you could do that also, by varying your brushes that you to use poop. It's very saturated pressure and just general line work. We're going to go ahead and basically color in, um but we're gonna go through some tips and techniques to get some ah, lot of the visual texture that you see in his in his work. You know, you can see all that line work and nuance that if we just to color in or to paint in, we're gonna lose and procreate. So I'll show you in the next section. How did start getting that visual texture? OK, so go ahead and wrap up your line work and let's get started with color.
7. Procreate Picasso Texture color masking and brush textures: Okay, so let's talk about texture. We're aunt and um, filling in our portrait with color, and we really want to go ahead and grab as much texture visual information as we can in a digital format, which is challenging so to get texture there, a couple different techniques that you can use. One of the easiest ways on the most straightforward ways is to use a brush that has visual texture in it that has a grain, and you convict through all the ones that come appropriate. Ah, lot of like the charcoal brushes have beautiful texture. There's some third party ones that people have made that have a lot of great texture. You can certainly make your own brushes with a lot of texture again. I've included thumb in the first set that comes with this class that have texture built into the grain of it. So this one has a canvas. It's like a two inch wide brush that you could fill in space with and still have that the grain of a canvas, if you will. So that's a easiest, easiest way. Most straightforward way to go ahead and get texture, and you can keep overlapping until you get a lot of you still have visual texture, but you have some opacity, Aziz. Well, there's, um you could go ahead and drag some color into a closed section like that. Um, again, make sure that you have an original of your line work, you know, locked and turned off so that you have that if you needed to go back and you know, if you accidentally made changes that you weren't happy with, um you have that. So that's one way you can go ahead and get color. You could drag as long as this section is completely closed. Um, you know, there's no gaps that color will stay within this particular section if it's open Scotia in my selectable here again, which we use, told me, chopped up our faces and you can just go with automatic. And if I click on the blue in this blue in this plume in this blue it's selected all of my blue just based on color and I can save and load that. I think I should be able to everything but but I don't know because I can see the shape. So, um, that is my blouse and now I can go ahead in with. I think I will go with one of my the brushes from this class. I really like this canvas brush and choose an alternate color. Maybe something a little darker, something like that. So I have visual texture and it's in perfect. It's not predictable. I've done it by hands.
8. Procreate Picasso Layer Blending: Okay, So another way to get texture and I wanted to discuss is to use the properties of the layers themselves and specifically the layer mask. So in this case, I have my line work in a separate layer. I'm gonna go ahead and click a plus for another layer, and in this layer, I'm just gonna tap on it. And it's gonna open up this fly out menu here. So, like clipping mask on what it's gonna do, Is it space on the layer? Believe beneath it. It's gonna allow you to change sections of the color of that of whatever artwork is in the under layer. It's gonna reveal it. So you could, as you in second re color part of lines that I made not all of it. But it's just going to effect where I painted. So that's a useful way. In addition to the direct select tool here to very to get very specifically without having to tediously, you know, draw and select just those areas, especially if it's a mixed a mixed form and you just want part of it colored and part of it original. That's a great way using a layer clipping mask to effect that change, and if you decide you don't want it, just click that you can see. That's where I painted. And you could just delete that, um, that layer like that. So that is layer clipping that scoops and has to be a layer above it. Sorry. Coping Mask layer. Okay, it's another great way to get texture into your digital art is to use a feature of the layers called the Mask and the Mask option. So to get into dance first, I would urge you to have your line work in a separate layer as I do mine work. And then I feel that a color block in the background and it's in its own layer with this upper layer. Collect em selected tap on that It opens up this pop out menu and select mask and masking works, basically by using either a black brush or a grayscale brush color to reveal parts of this background on. And it's only gonna work into the shape that I've drawn in the red, and I'll show you by selecting a black color cause that's going to, um, kind of mask out part of part of that background. I'm going to use a textured brush again, quips, and I'm going to just selectively, um, add some texture to the background. And that's a full black. So it's going to fully reveal, um, or erase almost, if you will, some of that block of color. Um, and as you can see there, you can see the shape that's been erased out if if I went too far. If you go too far, all you need to do is to elect a white brush or a lighter gray skill, and the same way just paint that back in just selectively by maybe tapping. There you go, so you get a lot more visual texture, um, revealed there by using a layer mask.
9. Procreate Picasso Face Detail and Layer Modes: Okay, Welcome back. Now we're gonna go move into the tighter areas and the face to get some some skin tones and some texture into our features. I've included inthe e course materials, a palette that has some flesh tones for you to pull from. So it just gives a little bit of a head start. Skin tone's gonna be a little bit of challenging. Um, so go ahead and find one that you feel closest to yours. Um, as you can see, he didn't really use, like, a full on flesh tone. He's, you know, a variation of different tones and hues, so feel free to mix and match. Can I think I would go ahead if I knew that with those areas we're closed, which they aren't because of this brush? Um, you can restate them if you like, or you could just trying to them because they are kind of little spaces. And you can get nice and in there do you some different tones. So don't make it just completely flat on. As you probably already know. Eyeballs. Miss Clara is never actually white. Be sure to give it some color. Don't just leave it blank white. Just be sure to keep it all beautiful and organic. Um, - perfect . Okay, well, I don't Perfect is the word for it, but I'm quite happy with that. I like the way it looks. And I like all the textures you can see from using different brushes, overlapping brushes, some asking that kind of thing. But there is one final trick that I wanted to show you to really bring it all together in one cohesive piece, and that is using our layer properties themselves to get texture. So I will see you in the next section where we go over that and now for the last way to get , um, really great cohesive texture is to use the properties of our layers themselves. So what you're gonna want to do is go ahead and click on the stool. Here. You were going to insert a photo again. I have, um, included this with the course materials, and it's a canvas texture. This is just a riel, um, campus lecture that I photographs. And it's in the course materials to quit and find that and imported into your, um, canvas into your file and it's in its X Quinta end up in its own layer. And so you're going to want to go ahead and scale that there's some darks and lights and you can just scale a section of it that you really particularly like, um, to cover your whole piece and just position it where you like it. It's a little bit, you know, irregular. So if you don't like that really dark mark, you can just shipped it. It's totally fine once you have it into position. I actually do like a little bit of that. Some don't leave that position and scale it. Could it just where you like it? And now it's in its own layer, and it's sitting on top of everything. We're gonna go ahead and coming in here. And here's where we have all these options weaken dark and it's you can see it really sets The tone of the whole piece. Gives it a lot of visual texture, probably just a little too much in this case, so you can go ahead and you can lower the opacity of that, too. So it's not quite so overwhelming, and you can experiment with all of these other settings. Each does something slightly different. So there we have it. There is my finished piece of my Picasso inspired self portrait. It's you.
10. Procreate Picasso To Recap: Um, yes. So just a recap. Um, we got texture by overlaying a texture image on top of all of our work. That's something that you can do. Um, you don't always need to, but sometimes it's a great way to get, like, a subtle, consistent layer across everything. Um, we have overlapped texture brushes, selectively different textured brushes like the canvas one that's included this pastel stick, this oil brush that I made, um, like a clearer brush. Kind of a watercolor ish brush. Um, we also experimented with masking with, um, you know what? This tool here with using our selections based on color to just work on those areas? Um, yeah, there's so many different ways to go ahead and get texture into it. But as you can see, it really takes, um, you know, piece of art from being slats on and, you know, looking kind of very digitally victory to something that has a lot more visual interest. So help that you, um you carry on just exploring, um, getting texture into appropriate and also exploring, you know, portraiture. And, you know, breaking apart the features to achieve interesting compositions procreate. Such a first a tile and flexible tool. It's it's really fun. It's also a great way to go ahead. And, you know, if you're going to paint traditionally to get, um, you have to do some thumbnails to get some work through some ideas before you commit Teoh. You know, using up here materials kind of think there's nothing wasted and doing that, yes.
Celeste Duffy, Make Beautiful Things.
