Procreate: Portraits for People who can't Paint!

1. Hello and Welcome!: Hello and welcome to Procreate portraits for people who can't paint. Beautiful love to create beautiful portraits. But you've never had a drawing lesson in your life and you think you can't draw, but okay, here's my proposition. Can use scribble. Your count. Good, I have a treat here waiting for you using the power appropriate, I will show you how to create some great portraits. On this course, you will use photographs of regular people to create a pencil drawing, a pastoral of chalk drawing, a point holistic painting, and the classic pop-up painting. You will also create a high key photographic effect. The studios chart a small fortune for and you will also create a beautiful soft photo affect. My aim is for you to take photos of people who are special to you on that transform them into works of art they will love. You, can be proud of along the way, you will have plenty of practice with some of the more powerful tools within Procreate, layer masks, layer blend modes, and adjustments. If you can scribble with an Apple pencil on an iPad, you've got this, but at the same time, the end result is determined by the choices you make along the way. So there was plenty of room for you to create a beautiful artwork, your white. Now if you're already good at drawing and painting, right? Here's some prolog itself. Welcome techniques for you. If you can't, don't worry, sometimes it's not about the countless hours you spend practicing the skill. It's about know-how joined the course today, allow show you how I will see you on the course. 2. The Pencil Effect - Setting up: Out k. Let's get started straightaway. This file is called pencil 01. It's available as download if you want to follow along. And if I skip ahead to the end result, this is what you're going to be seeing by the end of the video. A simple pencil sketch effect. Okay, so let's get started. The very first thing I'm going to do before I do anything else is I'm going to crop this picture slightly. I want to concentrate just on the head, top of the shoulders. To do that, I'll come to a top left and I will come to my wrench icon, tap on it, and then I'll choose the second icon along in the actions. And I'm going to crop and resize for this. I don't want all this detail around the bottom and I don't particularly need all that hair on the end. The exact size on cropping this too doesn't matter. I'm just doing it so I can focus more on the face. Once I've done that, I come to Darn, it works everything out and there we go. Okay. The next thing I'll move that off to the side and I'll open up my layers panel. And you can see I get something called layer one and I get something called background color. For the layer one, I'm going to rename this to base. If you are doing these kind of special effects and you're working with a JPEG you've imported, it is always a good idea to take your layer one, duplicate it. That will be the one or start to work on. For this one underneath a base, I will slide to the right and I will lock it. I will also make it invisible by tapping just on this little square to the right. This is your safety layer because sometimes you will want to call up the base layer again to make a duplicate of it, like I've just done. I'd say you want the original image there as insurance so that if you completely mess up everything, you always have your base layer there. All right, so this top layer, I'll rename this to grayscale because well, we're doing a pencil effect, and so I need this to be monotone. To do this, I'll choose the most straightforward method, and that is to come up to my Effects tab. And I'll come to hue saturation and brightness. For the saturation, I will take that down to 0 and I have a gray scale image. And I can single finger tap on my screen, press apply. The effect is applied. Now I could do more things with it, but instead I want to come out of this adjustments. So I'll just tap on my adjustments icon again. There we go, grayscale. The next thing I'm gonna do is create a new layer. And I'll rename this to artwork because this is going to be where I'm going to create the actual image. You'll notice I have white selected and I'm going to use one of my fingers and just drag from there into the main area and I flooded the area with white. I'm going to tap on the icon for the artwork layer, and I'm going to create a mask. I get something called Layer Mask. Now the video straight after this project goes into detail about what layer masks are and why they're such a wonderful thing. But I don't want to get into that now. I want you to create the effect. Now, all you need to know about layer masks are they make parts of the lever attached to it visible or invisible, depending on whether you paint black or white. So let's do that. And when it came to my brushes, I'll choose the sketching brush set and I can choose any of the pencils I want. I've got DO and selected. Okay, let's try that. And I'm going to choose black. I'm going to be painting in black on my layer mask, not my artwork layer. Make sure the Layer Mask layer is selected because you tap on the name and you can see highlighted in dark blue. In fact, just before we do this look, I'm going to zoom in a little bit on the face area that I'll make my artwork layer visible again, so everything's white, but now my layer mask is selected, not my artwork. Layer mask on my pencil selected my pencil. Let's take a look at the size of it. I've got it set to what, 30%, 31 percent, and I'm on a 100% opacity. And now I'm just going to scribble. Watch what happens. I started scribbled, can guess what that is yet. Hopefully you can. If you're looking at that, can you see that is one of the eyes. If I go across to the other side, the other eye. By the way, for a lot of this I will speed up as a one I need to because I can only scribbled so fast and you're gonna end up getting pretty bored. Now, is the mouth to add here, somebody yes, it is. I thought off the top row teeth. And I can scribble all like this. You can see the mouth. What's happening is I'm scribbling in black on my layer mask. Wherever I scribble in black, that white layer, which is called artwork, becomes invisible and reveals what is underneath. But because I'm scribbling with a pencil like this and also if I tilt my pencil over so it's lying at an angle, I get what you get in real life because the brush is set up this way. You get more of kind of paper texture, smoother effect like this. So you can either get scripty lines like this or tilt your pencil Y0 over with what are we using the brush. You get the effect that you get in real life, which is when you told your pencil over, you can still control the pressure in there at hard or soft, but because it's as an angle, you get broader brush strokes. It's a very common technique when you want to create shaded areas. New, gradually refill whatever is underneath. I'll fade out for now and I'll get back to you in just a bit. 3. Refine your Pencil Effect: Okay, This picture is nearly working, but not quite the various different shades of grays and blacks that I'm revealing. All the kinds of grays and blacks that you will get in a pencil drawing. And the reason for that is that, well, this is supposed to be a sketchy drawing with a pencil. Well, for one thing, the graphite in your pencil isn't black. Anyone who's tried to do deep shading or black areas with a pencil. And this ended up scribbling their way through the paper can tell you that you can only get to a certain shade of gray with a graphite pencil. You can't get black. That's what we've got in various places on this picture. Also, for the highlighted areas, areas around say, the teeth or the left side of the face will, when you're doing a pencil drawing on a white sheet of paper, you just leave the piece of paper white. And the other reason, as well as this is supposed to be a sketchy drawing with a tightly controlled pencil drawing, you'll take the time to vary the pressure of your pencil to build up various shades of gray. Well, this is not like that. This is a sketchy drawing too. There's too many shades of gray in-between. This is what we're going to do. We will come to our grayscale image and we will duplicate it. I will make the artwork layer invisible so we can see the layer we've got. Just to show you what I'm doing. I want a more compressed range of tones. If I want the darkest areas to be not so dark and I want the lighter areas to be lighter. So I will come to the top left and I will come to Gradient Map, My currently selected gradients. Let's tap on that and I can edit this. Now what we had before was a range of tones going from pure black to pure white bull, the thing is I can edit this gradient so I can get more of the effect I want. If I come just where I'm circling to that little square in the bottom which is black. I can adjust the tone of this. I don't want this to be black. I want it to be a deeper shade of gray somewhere around maybe there, that's about 20% up from black on already, I'm getting it better effect. But also if I come to the white box and the right-hand side, I can slide this in. When I do that, you can see all the areas which used to be like right? And now a white color like this. I think that is gonna give me more the effect that I'm looking for. It's a more compressed range of tones with whiter areas plus also a reasonable dark gray, maybe still a little bit darker, light fast. What I'm trying to get is the darkest areas are the darkest areas I can make by using a pencil. And if I tap on Done, well, that's one way of doing it. And if I turn on my artwork layer again with my layer mask applied, immediately, I'm getting a better effect. That's much more the kind of effect you would expect to see with a pencil. If I make this layer invisible again and turn on my original too dark, much better. But what I will do is I'll two-finger tap a few times to get to this point here. Because look, I showed you the gradient map in action and what it does. But the best way to judge this is with a layer mask on the layer on top already applied. So you could judge things as they appear much more in the final image. Come to adjustments again, contra gradient map, and it automatically applies the last gradient map, which was the one I did a couple of minutes ago. But now, now with a sketch mocks in place, I can start to slide things around the judge, things a little bit better. Like two, I want the gradient map to come in from bit, from that. Yes, I do. Compressing the amount of turns I can get, But I have a reasonable darkest tone there. Now what about this one here? That's too dark overall, that is giving me some areas of blank paper. Take a look just on the side of the nose and also on the left side of the cheek. I can also just tap anywhere on that gradient at the bottom. If I do, I get a new box which takes on the current color. And I can move that around to really find chair and the effect, maybe something like this. Okay, I will go with that. I will tap on done and come to our layers panel again, that's all committed. Let's take a look at what we had before and what we have now. Way too dark, looking much better. Now, how dark overall do you want this? Well, here's tip for you. You have a number of different pencils. I'm using the HB pencil, which is actually quite hard. And that's going to give me a couple of things. It's going to give me a reasonably fine point. So I'd want my brush size set to fairly small, but also it will give me a fairly high key picture. And that means overall it's going to be quite light in turn. If I was to use something like a six B pencil, well that's softer, which means it puts down more graphite on the surface of your paper. And so for our purposes, that's going to mean a couple of things. Thicker pencil strokes because the tip gets blunt quicker, but also it means slightly darker tones overall. So if you want the effect of a hard light pencil, you make the image underneath pretty light and use fine brushstrokes. If you're going to use Hamas softer pencil, like a six B pencil, the darker areas. We're probably be a bit darker overall and the brushstrokes will be thicker. But I'm gonna come back to my HB pencil. Let's make sure I have the right layer selected. I want that layer mask selected. Black is selected. Now I can carry on scribbling to make the effect I want. Now there are a couple of things with this. You may decide you've gone too far in certain areas and you want to get back the sketchy effect, like say, this cheek area. Look if I scribbling on a little bit more like this. Well, there's no pencil effect there. So at this point you might think, well, great, Let's reach for the eraser. Use the same pencil and carrying go. No, you don't want to do that. If you want to get rid of some brushstrokes, still use a paintbrush, but come up to white because white reveals, black conceals and they can add back in the sketching life. There's, Let's just do that. Also bear in mind. It's a very common technique when you're doing a pencil drawing like this. Especially when you're working in areas like the cheek or the forehead where you have a large area of similar tones to smudge. You can do that in Procreate. I have my HB pencil selected. If I just tap and hold on my smudge icon for a little bit, it says smudge with current brush and there you go, HB pencil. I'll need that to be maximum size. And if I come justice area and I stopped to smudge, you can see I can start to smear those areas. You're still getting a slight impression of the lines underneath, but the tones are starting to smear into one area. Well, you'll do that with a pencil drawing. So why not do it here? Okay, I'm going to choose black again, double-check because I'm completely paranoid. I'm drawing on my layer mask where I want to find a detail. I'll use the point on my pencil like this and get some fairly fine lines that will be around areas like the eyes, the mouth. I'm just doing underneath the top lip at the moment. Because people naturally concentrate in the eyes and the mouth, maybe the nose, but it's the eyes and the mouth, the eyes of the most important part of any picture. If it's a portrait, it's the eyes. If it's a landscape, it's the eyes of the person standing somewhere in the middle distance looking at you. It is human nature. We always look at the eyes first. That's where an illustrator will spend the most time on the most trouble getting all the details right because if the eyes look wrong, the whole portrait is wrong. There. What do you use? Fine brushstrokes in the eye area like I've used there. When it comes to areas like say the cheeks. Well, you turn to turn your pencil over a little bit. So use the side of it to get more of a tunnel effect. And you can do that using the various sketching brushes within procreate. They're designed to turnover. And also you'll tend to find, unless you're doing a very tight controlled photorealistic pencil drawing, we will spend a lot of time getting the eyes right with little tight controlled brushstrokes and the mouth, and the nose and maybe the ears. But as we go towards the outside of the picture, we start getting bored. So the brushstrokes will tend to get a little bit broader and a little bit more freer in areas like say the hair for example. Anyway, I think the best thing to do would be for me to fade out and fade back in once I've got to a certain stage where I can start to tell you some more things to make this just a little bit more like a pencil drawing. 4. Finishing your Pencil Effect: Okay, I've got to a certain stage with this. You can see what I've scribbled in various different details. It's coming together. There were just a few things I want to do with this though. I'm trying to think the way someone who would think if they're doing a pencil drawing, when you're doing a pencil drawing, is to decide what to put in and what to leave out. For example, let's take a look at this area here because it's quite wild. If I make my top layer invisible, There's my original photo. There is a feeling when you are copying from a photograph that if it's in the photograph, it must be right. And therefore I must do it in my pencil drawings, all my paintings or whatever. But the thing is, when someone sees a photo like this, they say, Okay, yes, it's a photo. Whatever I see in that I will accept providing it's not being obviously photoshopped. But when it comes to something that looks like, for example, a pencil drawing, typically an artist will make decisions about what they put in and what they leave out. That big strand of flyaway hair just to the top of the head. I don't see the point in putting that in. My layer mask is selected. And I think for this HB pencil is a small fine pencil. I want to use something a bit bigger. Let's try bonobo chalk that can give me some nice large areas. And so what I want to do is use that short to paint white onto the white layer on top. It revealing the white layer on top and concealing what's underneath. Make it a little bit smaller. And I'm just gonna go through some of these areas here because the certain point where you don't want to draw absolutely everything. And when you do draw everything with these sketchy lines, you can start to look a little bit unnatural. Similarly with certain areas like say, the strand of hair, I'm just circling the top of it now. Well, when you're drawing that you wouldn't draw these diagonal brush strokes in the way they are. What you tend to do is I make this a bit smaller. Those areas are going to be a little bit just plain white. So I'm putting in a few random brushstroke areas just to give a more of a hand-drawn feel to it like this, I will come back to that and walk in at some more, I think looking maybe a little bit strong. So maybe I'll undo a few times by double tapping or tap and hold just to reduce that effect. But that could do with just a little bit of touching up. Similarly with an area like this just where the shoulder is, typically on the edge of the shoulder where its light where you can see it's light there with a dark background? Yes. Someone would do something like that. Similarly, the side of the neck where I'm circling, you've got the light of the neck and you won't be able to pull it away from the background. And so you'd put a bit of dark scribble there just to make the next handout. But what about this area here of the shoulder which gets darker? Typically, you wouldn't do that. You get to something like this. You just have the dark area there against the lighter background, as the rule of thumb is for your subject against the background. If the bit of the subject is darker compared to the background, you wouldn't have those scribbly lines. Similarly, look at the bottom of the picture. I'm getting a lot of very nice, fine detail of the dress. But when someone's drawings, they're not gonna do that. If someone's doing a sketch, they're not going to suddenly start putting a load of tight detail just in those bottom areas. So vapid there. That should really go. You can suggest it. But also it's a very strong horizontal lines which are not to kill her. In fact, maybe I'll just pull this bit away just from the side. Because typically with a sketch, you tend not to draw right to the edges. I'm just going to get rid of these various details here. You're not going to get the fine detail there. Suddenly maybe just the very edge of here. Let's make that a little bit finer. Like this. These are just little refinements that you're going to do to try and sell the effect for being, well, it looks like a pencil drawing, but free and yet very accurate because it's based upon a photo. Similarly, I'm going to add an extra layer and I'll call this details. I'm going to come back to my HB pencil again. I want the darkest gray that I've got an a. So if I come and just sample this area here, that if the darkest great I have, this is optional. You don't have to do this. But if he can say areas around the hair, What's the size of my brush, maybe I'll make it a little bit bigger for this. So it's a bit more obvious what I'm doing. I will start a scribble in certain areas. Because when you're defining areas like this, when you're drawing, you're not going to have just a series of diagonal lines all going off in one direction. You're going to have a life which follow, saved by the hair goes as I'm doing these light loose scribbles just around the outline, around maybe this bit here as well, using the side of my pencil as well as the point like this. Just to give a slight hand-drawn fill in the various areas of the picture, especially when we've got these. A strong diagonals going through that massive hair. It's very simple. All you do is you just trace around the natural outlines that you can see. Similarly with the contours of the face that's come to here. You'll always start a sketch, or most people will start a sketch. Nope, I go straight into the shading book doing a few construction lines like I'm doing here, can make a fairly light and you can decide where they are. Typically, you might turn around, say, the area of the nose, the eyes, and the eyebrows. Yes, you will have them there because people tend to draw eyebrows in various different ways. But you've got some little pencil marks going like this. Just follow the outline of where you're going if that might be a little bit too ragged. Because clearly this person's spend a bit of time looking good and it shows. But still a little bit of detail around here, around the eyes. Definitely people will draw the outline of the eyes like I'm doing now. I've run the pupils and it's putting in just the kind of pencil lines that you would expect to see on a pencil drawing just to try and settle the shot a little bit more. Let's move them across to hit definitely on here. Remember these gonna be fairly tight areas and I'm just drawing over the top of the Layer Mask and the layers underneath because then I always have the option. If I don't like it, it just getting rid of it, maybe put a little suggestion of eyelashes that you get these various different lines which just might expect to see. Make them free. Don't make these cautious, don't do a fairly careful lion all around the outline of the subject like that. You want to make it flunky. You want to make it fast, because this is supposed to look like a pretty loose pencil sketch. A little bit more just around the shoulder, an upfront if just a few random squiggles just here and there. Just to give the idea that I was working fast when I did this masterpiece, brilliant technique, but I did already fast around the mouth. Yes, do not outline the bits of the teeth life as this is a big no-no. And you see a lot of people making that mistake, teeth, you'll be seen as a mask. So I will tap a few times to undo that. Let me just run the line of the lips around the bottom of the lips. Don't do this topic. That makes them lips look like they're stuck on. Fe, find that too strong, you can always come to your details layer, tap on the N and you can alter the opacity. You can take it right down to 0 and graduated dial in the amount of those loose pencil sketches that you want like that. If you're feeling really brave, you can always add another layer and you can start to put in the construction lines. That's looking a little bit odd. But construction line going down for the middle of the face. Maybe you want to do the construction line going across where the eyes and the nose are, most of the mouth because people mark-off different proportions of the face like this. Again, with that, you have the option of fading to nothing grouchy, failing them in for very faint construction lines. Or in this case, I'm just gonna get rid of them altogether. When you've done all that, come back to your layer mask, do one final pass with it. I am going to stick with my Bonobo chalk because I want large areas for this, like my past TDL low, set to white and I just want to start revealing too In areas, again, make sure layer mask is selected, that's good. Maybe make this a little bit more paint so you can see what I'm doing. I will come to the cheek on the left-hand side and are gradually paint in white, fade out certain areas just to give the impression that there is plain paper there. And I gave up shading at that point is maybe around side of the nose, just in few areas. Again, to give more of a pencil based effect like say just the side of the neck. I'm going to clear up some of the detail around there. Maybe just a bit on the side of the shoulder and look in your own time if you've been following along, maybe we can take another look at some of these strands of hair. Just be careful when you're doing this because sometimes you can start to change the form of whatever it is you're doing the cleanup work. Like for example, say with his cheek here, if I was to take my opacity up to a 100, I think. Great, Let's get rid of some of these areas here. Let's make this bigger, maybe a little bit less opaque, so built but a little bit more naturally. But just say this area here. If we get rid of a large area there, you can flatten the cheek. That's not going to look good. So two-finger tap to undo that. All right, Just one final thing. I just an extra layer of complexity. Look this layer seven where I did the construction lines. Going to get rid of that. I'm going to come to Add, Insert a file and have various different papers here which can put on top to give the suggestion of a paper texture. What about cartilage is 0 too rough gray? I will make that available as a download so you can follow along, tap on that imported. Let's make everything a little bit smaller. I'm going to come to the little green dot at the top and move everything around like this. I'm also going to make this bigger so it covers the entire area. Then I'm gonna come to my layers panel. You can see I've got a fine paper texture there. It's not so good at the moment because it's just a pure gray. But if we come to layer blend modes and we choose one of the contrast layer blend modes. Like that, for example. Now if I zoom right in, can you see just little bits of texture that's quite hard to see actually, let's go to about there. And we'll change the layer blend mode to a different one. Let's try hard light, or hard light. Linear light. Linear light is giving me the most obvious effect. With that layer turned off. Things get digital smooth with a layer turned on you getting a paper texture. In addition, Though, I noticed with this, I've got a bit of a smart there which I didn't know I had before. Shower leave it there. Just so it looks like a little bit of a mistake? No, I don't really have to. Look. I'll show you how you can fix this, change this back to normal blend mode so you get the typical gray with that little smudge there. And then I'm gonna come to my adjustments and I'm gonna come to a close. I want to source area about that. Let's choose a simple software brush for this. And that little circle showed me where I'm going to pick up areas from. Let's try it a little bit just underneath there. So whatever is in that circle is going to get stamped on when I paint over that dark smudge. In fact, I'll take it down a little bit more to here. I'll make my brush size a little bit smaller. I'll make my brush opacity on a 100%. And I can gradually just pick up the pixels from where the little circle is on standard downward. I'm painting in that way. I can paint over that little glitch. I didn't realize that it was going to happen to be honest, but I'm glad I did because it lets me show you what you can do to fix it. Now wherever we Linear Light about that. Before, after, if you don't want the effect to be that strong, just tab where it tells you what the layer blend mode is, where I'm circling. Take it down to 0 and dial in the amount if you want like this. That is the first projects. Once you get your head around the various concepts that we've used. And the main one is the layer mask. This is self working. All you have to do is scribble or maybe a little bit of tracing at the end if you want to. But as I say, the layer masks are probably the thing that's going to confuse you. And so the next video is just a video devoted purely to layer masks and how they work. Because in future projects we are going to be using layer masks quite a bit. Okay, that's it for the first project. I hope you enjoyed it and I will see you in the next video. 5. What are Layer Masks?: Oh, okay, let's explain layer masks and what they do. This file is called layer masks. You can download and follow along Burt's. It's just a very simple file which consists of two layers, which I'm using for demonstration. You can do what I'm doing here on any file you want. And you can see it consists of two layers. I have a layer at the top called top layer, and written on it is top layer. If I make it invisible underneath, I have a bottom layer with bottom layer written on it and they look very different. And what I want to do is make the top layer visible, so it hides the bottom layer. But I wanted to be able to reveal parts of the bottom layer to do that. Well, there's a number of different ways, but the way we're looking at is if you tap on the icon which says Tableau, and right here you have mask. Click on that one. I do. I guess an extra layer which is attached to the top layer called layer mask. And if you look at the Layer icon, you can see it's just a blank white will. Alright, let's come to our colors and I'm gonna choose a black of my brush. What have I got from the airbrushing brush set I'm using medium airbrushed. My brush size, well, it's fairly large and my opacity is on a 100%. I will come back and I'll double-check and make sure my Layer Mask is the selected layer. You can tell that because it's the deeper blue. And now I'm going to paint on the layer mask layer in black at a 100%. Oh, look at this. The bottom layer is getting revealed. Let's take a look at that in the layers panel. You can see on my layer mask layer a little thumbnail and you can see where I've painted in black, but you're not seeing that on the actual image. That is because a layer mask is a special kind of layer. You don't see it, you don't see that black and white. What you see is what it does, and what it does is make the layer it's attached to, visible or invisible depending upon what's painted onto it. If your paint black onto it, the top layer becomes invisible and you can see the bottom layer. If I come and I paint in white. Now, I can make the top layer visible again, just where I paint. And if I come to my layers panel, you can see for thumbnail again, I have a white surround with a little black splotch and where that black splotch is, anything which is underneath it as concealed. There's a very common saying with this. When it comes to layer masks, white reveals, black conceals, which means for the top layer, wherever the layer mask is painted white, you'll see the top layer. And wherever it's painted black, the top layer is concealed, but it's not a raised and that is one of the main advantages of a layer mask. If I'm painting white, I can reveal a top layer. If I paint in black, icon, conceal the top layer. If you can't remember, white reveals, black conceals. Just think black hole. If you paint in black, you create a hole in the top layer. But here's the thing. Look, I'm painting with a medium brush that's quite boring. Let's come to say spray paints, and let's choose, let us choose flicks. Make sure it's set pasty a 100%. Let's make it nice and big, unabated and black. And you can see I get a nice splatter effect there because the facts of the matter is you can use any brush you want to create some very complex effects. If I paint in white again, I can reveal the top layer. Alright, I'm back to where I started to layer mask for the top layer is all white so everything is seen. I'll create a little hole in the middle like this. I'm using my medium aperture again, but there is more to this. Look. If I choose a mid gray paint on the left-hand side, can you see that the bottom layer is now being partially revealed? And if I come to my thumbnail, you can see I've got my black hole in the middle of my layer mask, but just to the left, I have a mid gray because the full story with a layer mask is rarely, it's kind of a variation of an alpha mask. Or when you have alphabet bitmaps, it means black is completely invisible, white is completely visible, but grays are partially visible. You can have anywhere from 0, which is black up to 255, which is white, and all the numbers in-between. If I make this so it's a very deep gray. You'll see most of the later ones. And if I make it a very lightest gray, you'll see most of the layers on top. How dark or light you paint with effects, how invisible or visible. The layer mask makes things. Let's come to a layer mask again. And I'm going to tap on. When it's all white, you can see everything. If I tap again and it come to invert, it turns it so it's all black and so the entire top layer is now invisible. I'll do that again. I'll come to invert. Now what I'll do is I'll choose a block again. Medium airbrush is delighted, but this time I am going to make my opacity much lower. I'm going to take it down to what, about what, 2425%. And now I'm going to paint on the layer mask, on the top layer, I want to do that. Can you see gradually starting to reveal the bottom layer? That's all one paint brush stroke, which I can gradually build up. Gradually reveal what is underneath. If I look a bit more on this, be on the left. I can gradually reveal what is underneath. And if I sought to white, I can go around. Julie, conceal wherever I want. If I count again, and I invert that, the white becomes black, the black becomes white. And now for the top layer, you're seeing the opposite of what you had a couple of seconds ago. I will do that again. I will invert. Now the thing about layer masks is they create an extra layer. If you're worried about running out of memory because you've got too many layers. Yeah, that can be an issue. You have to be aware of that. And there are also other things like clipping layers and Alpha Lock, which lets you draw on just part of a layout like we're doing now. But with a layer mask, the upside is it probably gives you the most amount of control over what you choose to reveal or conceal on the layer that the Layer Mask is attached to, in this case, the top layer. Now here's a couple of gotchas and I can almost guarantee you at some point, you will do this. You will do something like this. You'll choose black and you start painting. And you think, oh, hang on, it's simply click the green. Alright, let's turn that to black again and up the opacity. And let's start painting. And you think, Oh, I must have done something wrong. I'll paint in white. If all of a sudden you paint in white and you think what is going on. That is because I'm painting on the top layer instead of the layer mask. And you can see that because the top layer is highlighted in blue, our layer mask is that faded blue. You need to paint on the layer mask layer. When you do that, then you get the effect you're looking for. Let's tap a few times to undo that mess. Okay. Let's move on. 6. Pastel and Chalk, Part 1: Hello and welcome to this tutorial. We'll be doing something fairly similar to what we did with a pencil sketch. For this tutorial, we're going to end up with something like this, charcoal and chalk effect. Now this is a little bit more complicated, but you'll end up with a method that you can do more with by the end of it, this file is available as a download. It's called Child 0 to download it and follow along if you want to. Okay, so the first thing is I open the image and I get my layer one. I'm going to do what I normally do and I'm going to rename this alcohol base. That is my safety layer in case I mess everything up, which of course I never do. But also I'm going to be duplicating this layer a few times to set up the effect I want, okay, so the first thing I'm going to do is duplicate it. And I'll rename this to shadows. Because if I cut back again to the final results, typically the way this technique works is you use various different colors of paper. And what you're aiming to do in the real-world is to use something like charcoal to show the darker areas. You let the midtone of the paper represents some of the mid tones of the skin. And then you add in a little bit of chalk just to show the highlights of the picture. So let's do that. For the first thing that shadows, I'm gonna come to my adjustments and I'm going to come to curves. Now what the curves adjustment layer does is control the overall darkness or brightness of your picture. I'll show you, Look, I can make everything darker overall. I can make everything brighter overall. The left side of the curve controls all the darker tones to the picture on the right side of the curve at this bit controls all the lighter parts of the picture. If I put a dot in the middle, well, that's called a node. And if I move that up and down, you can see if I push it up, the pitcher gets lighter overall, but the darker parts of the picture stay dark. Similarly, if I do this and pull it down, the picture gets darker overall, but the very lightest areas stay fairly bright. If I make another node and drag that into kind of a nice shape. Because what I want is a fairly contrasting picture where the darker areas are definitely dark. For this one, I don't really want to eat lighter layers, but you'll see what I mean when I do a little bit more with this. I'm gonna pull these two inner nodes close together and that way I get a very contrasty picture. Now what I'm looking at is the area I'm circling here. I want the shadow areas to be definitely dark. But what you can see again, just where I'm circling, There's a terminator that there's a cutoff point between the darker areas on the lighter areas. And those are the kind of areas I'm interested in. Because when I do my actual pencil sketch, I want these areas to be the bits where the charcoal goes. So let's try maybe about like this. I've got a little bit of a transition between the darkest areas and the lightest areas. Yeah, I'll go with that with that kind of s-shaped where there's quite a lot of lighter areas. So I will come up to my adjustments and tap again to commit to that. Now I'm not going to be using this to directly draw on. I'm going to be using this layer as the basis for a layer mask. So I'll create a new layer and I'll call this my charcoal layer. And also I'm going to tap and I'm going to add a mask to it. So now have a charcoal layer with a layer mask on top. I will come down to my shadows layer. Then I'll come to my wrench icon on the left. And for this, I want this icon which I'm circling now, the Add icon. And I'm going to come to copy. My entire layer is copied. Then this is the clever bit. You come to the Layer Mask on your charcoal layer, make sure that is selected. Not the charcoal layer which is now highlighted in deep blue. I want that deep blue to be on the layer mask that come back tomorrow GE icon. And now I'm going to come to paste. From there. I'm just going to come up just where I'm circling now to my transform icon, tap again to commit to that. Take a look. That image is now pasted into my Layer Mask. Now, if you remember from the pencil videos, the layer mask makes whatever is underneath it visible or invisible. Let's show you this. I will make my shadows layer invisible and I will make my base layer invisible, so nothing is showing. Furthermore, while I'm look, I'm going to choose a color for my paper. Now I need kind of a grayish red will do me. I want a fairly warm color to this, but very desaturated about, say, about that, that should do for some of the mid tones, but I can also this later. The next thing, well, I need a brush for this. I'm in the charcoal brush set, but I'm going to use the carbon sticks I find that gives a nice crunchy texture for my color. Well, in order to get my color, I can't be on the layer mask. I have to come to my charcoal lab, then I can select a color. Otherwise, if a model layer mask, the only color I'm gonna get is kind of a gray color to my charcoal. For my color. I'm going to choose a fairly deep red because look, I'm told me about charcoal. The fact of the matter is with this technique, you don't have to use charcoal. There is a certain color called, I think it's called capita mortem. Is the color you can get for parcel, which is a nice, warm, deep red. And you can see her look outcome to my values. And you can read off the colors that red, 103, green, turn blue, 19. Look unlikely to change that color at some point, but just in case you want to follow along exactly my brush, my carbon stick. Well, let's set that to pretty big as all I wanted to do is come to my main area. Who? Ammo chocolate lab. And if I scribbled like this, you can gradually see the boy's face appearing, but the problem is it's inverted. Now the reason for that, if I come back to my layer mask and I'll zoom in a little bit. If you remember with a Layer Mask, white reveals, black conceals. So you can see where our scribbled Oh, my charcoal layer, but my layer mask is just a straight copy of my shadows layer. And so the black areas aren't visible on the white areas of visible. So it's inverted. I don't need that, but that is very easy to solve. I will tap undo a couple of times just to paint in my brush strokes. I will come to my Layer Mask. I will tap on the icon and I will come to invert. Now it's the other way around. That's the smart. But now, come back to your layers and make sure the charcoal layer is selected again. And if I scrub all that lovely child's face chest pairs out of nowhere. And because I'm using the carbon Stick, which has a nice, crunchy texture. I've got the makings of a nice charcoal effect. There's a little bit down here. I'll just strengthen certain areas by going over them again, that's the left side of the boy's face. So it looks like I'm putting down more charcoal in those areas or this particular pastel color. If I make my brush a little bit smaller, maybe a little bit under the chin, I'm putting down my various different shades of this color, but I'm putting down a little bit more in some areas and a little bit less in others. Because when you do a charcoal drawing, you don't just keep the same pressure all the time. You'll press harder in certain areas unless hard another so that's just the inside of the lips, maybe the underside of the mouth a little bit around this side of the nose just to bring out some of the deeper shadow areas they're a little bit around the eyes, of course we're gonna need that and also the eyebrows. And maybe adding just one or two little details. Now when I was experimenting with this, I did find that the carbon Stick is really nice for putting down large areas of a nice kind of a chocolate type texture. But I find, for some of the fine areas, I found willow charcoal, the one above it. Now what's a little bit better for me and I've got the opacity set of fall and the size of the way down to 1%. I'm gonna zoom in. Maybe just strengthen just one or two areas, maybe just around the side of the face are for this I find if I put my pen on the side, I get a fairly large, broad stroke like that. I'm gonna bring my pen pretty much at a right angle to my iPad. Just do one or two little sketch lines. We did this with the pencil drawing. And it just helps sell the effect that there's a little bit of scribbling pencil in there. Maybe just strengthen around the eyes because remember, people concentrate on the eyes more than they concentrate on anything else when they're drawing. Can you get a little bit around the side of the nose? Just wanted to, uh, bits around there. Maybe just a little bit, just roughly where the chin is. Working very fast with this. A little bit sketchy. Just wear the shirt is. And I'm making these lines much more loosened, sketchy because I'm moving further away from the focal area, that's the eyes and people drawing naturally tend to put down looser, more sketchy lines the further they go away from the bits they've concentrated the most on. And that is always going to be the eyes, the nose, and the mouth. Also, while I'm here, I will come to my Erase tool by willow charcoal is still selected unless make it the same size, 1%. And I can just start to scribbled back some of these areas here maybe to them fairly free and easy like this just to get an effect going on there. In fact, rather than a raising light that I will undo a few times, Holt are my two fingers to step backwards. And allergies acquired a bit of that by using the side of my pencil like this. Maybe a little bit around here just to get some rounds on human brush strokes in there. And then I'll come back to my main pencil or maybe start a little bit of some very loose crosshatching like this. I'm working very fast. You might want to take more time with this, maybe pencil on the side a little bit more. Just a very effective, a little bit like this. Also, if you want to smear or smudge stuff for this year, I would stick with a carbon Stick, make it reasonably large like this. I'll take the opacity down so I can gradually build up the effect. Because when people are doing drawings like this, they will stick their finger and then little textured areas and try and smooth out areas. Maybe try this around the forehead area, see how that's starting to get smeared out. And if I'm gonna do this, I'll do it Just while I get transitional areas from light to dark, maybe around the side of the cheek there as well. Maybe just a little bit of reflected light that I put on the side of a chain on the left just to give the impression that someone has gone in, in either with a finger or taught stick or had a little adventure, rubbing things out by using some bread. She can use Brad just a smooth out these areas. It's up to you whether you decide to do that, maybe you want to keep the texture there because at the end of the day, this is a digital drawing or so maybe you want to sell the effect of this being on a very textured piece of paper rather than a really smooth glass computer screen. Okay, so I'll call this done for now. And in the next video, we're going to add the highlights. I will see you there. 7. Pastel and Chalk, Adding the Chalk: Okay, welcome back. Now just before I add the lighter bits, which is what I said I was going to do. There are one or two things about this which I'm not quite happy about. One of them is those eyes are way too light. You don't get pure white eyes and it looks a little bit odd to me. This is what I'm gonna do. I'm gonna come back to my layers and I'm going to come to my Layer Mask. Now the problem is if I zoom in on the eyes, the layer mask is covering up the textured area underneath. I don't want that. I need at least some of it to be partially visible. So black and white reveals. So let's choose some white chump my brush. I want to stick with willow charcoal for this because I'm finding it works better for painting fine details. But what I will do is I've lowered the opacity to gradually build this up. Now, if I come to this life, for example, I start to slowly build up. Yeah, that's working better for me. It is quite surprising how dark the underside of the eyelids do get on what we call the whites of the eye, which are white. Let's do a little bit around here. Let's take a look at the other eye and try and match this up in terms of shading yet that bit around here, definitely, if I could do it, being made darker just seemed a little bit. And yeah, I prefer that although I think I've gone a bit too far on one of those EIS. Swap around. Take that back a little bit like this. Swap back to white again. All right, let's come back to our charcoal layer. Chocolate selected, That's good. That's what I want for the darker areas. Long 1% because I think there's one or two bits around here. Those eyes needle a little bit more, defining the darker areas, pupils and what have you. Now, here's the other thing, and it is a small thing, but It's worth pointing out. When someone does a charcoal drawing, it tends to be big strokes. And whilst you can put in detail and build up form, one thing that you tend not to get is especially around this eye. There's a little crease under the eye, which that is not the kind of detail I would expect you to be able to do with the charcoal drawing is simply to find a detail and the charcoal doesn't work like that. So I will come back to the layer mask. Come back white is selected, which means I'm going to reveal the charcoal underneath. And I'm just going to go over very fine detail there. Just to remove it because I want to sell the idea that this is a charcoal drawing, stuff like that, you simply wouldn't see. Similarly with the lips, there's one or two little crease on the lips that you're seeing, which I think could do with being obscured a little bit. I still want the form of the lips, but being able to see all the tiny individual details, you wouldn't see that. Alright, let's come back to our layers and use our base layer again. That's why it's useful to have the base layer. So in case I wanted to make another duplicate, I can touch and hold until it floats, drag it to the top. And let's do what we did before. Let's make it visible. Let's do what we did before. Let's come to curves. Typically, when you do a drawing like this on a medium lit subject, what you'll do is have a fair amount of charcoal or the deeper tone to bring out the form and the shadows. But then you just get some smaller highlighted areas just to bring out the lightest areas. For this, I'm going to use curves again, but this time I only want a very small area of fairly sharply defined light. This is gonna be where my highlights are gonna go. And that's the kind of detail I want no more than that. I think actually that's make it about that. Also, you'll notice just the natural pause. This person's skin beginning to be quite a crispy texture. Offer another drawing. I might want to blur this layer before I do the Gaussian blur. So I don't get all these little crispy bits, but actually I think that's going to work quite nicely because the chalk will have a texture when it gets put down on our virtual paper anyway. So I think this crispy texture is actually going to help me. That's what I want, very sharply defined, lighter areas. Now, how a tap on my adjustments icon again, cmos a little bit. As before. I need new layer and I will call this church. And it needs a mask, doesn't it? Now, I'll come down to my base layer. I copy the layer. Then I came up to my Layer Mask on my layer. And you know, it's selected because it's that deeper of the two blues. And I come to paste, we go into transform mode so I can move this around if I want, but I'll just tap on my transform iconic answer, lose it. And there's my layer mask. Now this base layer that I just created, plus also the shadows layer. I don't really need them. I could delete them, but for now, I will just take it. Drag it to the bottom. And just for the sake of making things neat and tidy, I will slide across our group those together. And they'll just sit there in case I wanted to get rid of them. Now, let's come to a layer with a charcoal layer. I wanted to reveal the darker areas, so I have to invert that mask for the top layer, the lighter areas are already selected and that's what I want to reveal. That means I don't have to invert this layer mask. Layer mask is selected, Let's just choose, this is completely white. I'm going to go instead for just a slightly off-white towards pink or brush tool, I have selected willow charcoal. Yeah, I'll go with that because I'm getting a little bit more control with it than I do with the carbon stick brush. And also, well, this is supposed to be chalk, which is different to the previous brush I use. So maybe it will give me a slightly different texture. Capacity up to a 100. Actually, no, I'll bring up the size a little bit, but I'll drop down the opacity because I want to gradually build this up. And oh, before I start, I think I probably gave some bile advice. I don't want the layer mask selected. I want the chalk layer selected. Choose our light coloring. Again. It's starting to look quite nice. Tell you what I'll do. I'll put down a fairly enthusiastic covering like this, maybe greatly unoccupied afterwards. But you can see already it's starting to give rather a nice effect. I'm getting just touches of highlight rather than too strong an area. So everything looks a little bit washed out. But he always specially on that for her dad's looking nice. It's a combination of a texture of the brush plus also the texture off the layer mask. Let's come down here a year. This is looking quite nice. That's looking to sharp on the side of those clothing's. So what I will do In my eraser, It's the same brush still. I'm going to fade a bit of a close. Just weren't working now because I wouldn't expect to see a hard edge while I'm here as well. There are certain areas as well, like the bottom of the lips where I want to leave a little bit of a gap in places between the shaded area and the highlight area. Because one of the main points of a technique like this is the tone of the paper act as kind of a mid to lightest tone for whatever it is you're drawing. A little bit of the paper left bear is no bad thing, right? All my eraser still selected. I want to gradually tone down certain areas. I want the points of highlights rather than huge areas. Unlike, say, I wanted to leave some areas of the paper there. All right, let's take a look at this before and after this layer. That's before. All of a sudden looking a little bit flat, with those little touches of highlights added, everything suddenly seems to jump into life. That is the basic technique where you use two layers instead of one to bring out the details in your drawing. But there's still more I can do with this. I'm going to zoom this out a little bit. And I'm gonna come tomorrow and check on. And I want to insert a file now. Where is that file there? Sugar Paper, bright. I don't know what you call it in your country, but when I was at our college that are rough, supposedly cheaply made paper which gives a very nice texture, which takes child call on George very nicely. We call it sugar paper. That's what I've called it here. I'll import it. It's come in a little bit small at the top, on the bottom. So I will just come to the blue node at the top, right, and drag that out. The blue node, other possum laughter, drag that out, that's fine. And our tap on my transform icon to accept that this is a very light image with dark of it. That's the surface of the paper which I scanned and doctored and touched up this. Now here's the interesting bit. At the moment. It's not that useful because it's completely covering everything up. But come on, let's name this to paper. Then I'll tap on my little n. Well, I want a lighter bits to be invisible, just a darker bits to show up most of that or mean one of the dark and blend modes. So let's come to say multiply. I'll zoom in just a little bit. The kind of effect we've got. And you can see little bits of the sugar paper there, which is important, especially for drawing like this, because it is supposed to be based on some textured paper. Maybe I can make that a little bit stronger though. So at the moment it's set to multiply. Let's go through if I just drag down, darken no normal to use. Color burn is quite nice. Linear burn, that is giving me a nice effect that's very strong. If that is too strong for you, you can just come to the opacity slider at the top, drag it down to 0. And there is our image without the paper, which all of a sudden is talking a little bit digital. It around. But if I gradually slide this up, I can dial in the exact amount of this layer that I want. And for this, I'm recording this. So there's gonna be a certain amount of conversion when I edit the video. But also, I want you to see very clearly what I'm doing. I want to crank this up to maximum 100%. You might want something a little more subtle that depends upon you. There's our basic image. I'm seeing one or two beats which I want to touch up more than that. I did say this is a bit more complicated than the pencil drawing, but it leads to more flexibility at the end, while I'm showing you the complicated bits will not show you the flexible bit. If I come to my layers, this image is made up of four separate images. The top paper layer, the chart layer for the highlights, the charcoal layer for the shadows, and the background color will look. If I come to the background color, I can change this to whatever I want like there, see. If I have something like that. Instead of the slightly warm red, I've now got a cooler blue. The whole picture gets changed. Not only that, if I come and select my charcoal lab and I come to hue, saturation and brightness. We can change the color to what whenever I want. And I can change the saturation to whatever I want. And I can change the brightness to whatever I want. That looks okay on screen. But if I was to print this out, I think that would look a little bit too dark. So our regular brightness again, maybe lower the saturation and there's a whole new effect. And that's the flexibility I was talking about. You can adjust the background to where you want. You can adjust the shading to where you want. You could do something similar with a chore layer, but I think that kind of works better just as a simple white color just to pick out highlights. And what's small Look, I'll tap on Done after this charcoal lab. Just before I go, I wanted to show you something. I will duplicate this layer and I will make the bottom two layers invisible. The eye just there as backup in case I completely messed this up. And I will come to my Layer Mask because I'm thinking I could do that just a little bit more of the paper showing through so that the tone of the paper adds to the tone of the picture overall. Now it could start scraping away the layer mask some more. But if I come to my adjustments once more and I'll come to curves. Well, the layer mask is just a dark to light layer which controls how visible the underlying image is. Let's try this. I'm going to add a node in the middle and I'm going to drive a node down. And as I do look at more and more of the underlying paper is made visible. The explanation for that is a little bit complicated. All you need to remember is that the black is concealing in the white is revealing. By altering the ratio or the dots of light, I can alter how visible all those dark blue texture marks others will or not. I can control the amount of shading. I've got to a really fine degree like this. This is a huge amount of control and a huge amount of flexibility. Let's compare what we have there. What we had before was before, maybe looking a little bit dark for my taste. This is it after with a little bit more of that paper showing through. Okay, That is the charcoal and chalk effect. In all its glory. I'll leave you to experiment with the colors that you like. I think it is time to move on to the next video and I will see you there. 8. Create a Simple High Key Photo Effect: Hello and welcome to this lecture. If there is a certain photographic effect which you see all over the place. And it is this, it's very high key, which means there's a lot of light areas. And for this particular style, a lot of the detail in the highlight areas is bleached out and the whole effect is very saturated, but also it's quite soft in certain areas. If you get this done in a professional studio, they will charge you a lot of money for it, but it's actually quite easy to achieve if you have the right tools, which you do in Procreate. And also if you know how, let's show you how these are some friends of mine. We were on holiday together. This was a very nice photo and I'll take a guess. You have similar photos to this. Okay, let's get started. Let's do the usual thing. Let's rename it to base. And I will duplicate my base then to get that really high key effect. Well, there's a number of different ways to do it, but I think the most flexible way, all the way with the most control is to come to curves. I'm all my gamma channel, the top blue one. And now all I do is I add a node somewhere in the middle and I just crank it all the way up and straight away you can see things are getting much lighter. Okay, so I'm going to slide that node the right to figure out the best place for it. This is going to vary from photo to photo. So if you're following along with one of your own photos and I kind of hope you are because I would like to see some original work. I wanted to plenty of washed-out areas like this. I could also maybe do it just a little bit of contrast that just in the dark area. So I'm going to add another node just towards the bottom of the slope. And I'm going to drag it down so I get quite a contrasty looking picture, maybe around there. Okay, So I like that. So I will tap, say all my layers panel just to commit to that. Because what I'm gonna do now is, well, rename it again. Light, just so when I refer to layers, you know which layer I'm talking about. Then I'm going to swipe to the left and I'm going to duplicate it again. And I'll call this one software. Because what I'm gonna do with this is I'm gonna change this to warn of a contrast blend modes. I have overlay, soft light, hard light, vivid light, and you can see that all giving me different kinds of the same effect for light to getting lighter, the darks are getting darker and it's all interacting with the light layer underneath. That's the way layer blend modes work. I think out of all of these, the first one, overlay works quite nice. Soft light is alright. Hard light is giving me quite an extreme effect. I'll go with overlay, which is getting me much closer to the effect I want, but it's looking a little bit grainy I could do with this being softened a little bit. Not a problem with the softened layer selected. I'm gonna come to my Adjustments layer again, and I'm going to come to Gaussian blur. Now called up the effect. I need to adjust the amount. That's very easy. Just take a finger, put it anywhere on the screen, probably towards the left pleasure finger and then just drag. And as I do, can you see at the top, you can see I'm adjusting the amount of Gaussian blur. If I just add too much, it becomes so blurred, it's meaningless. I want to slide back to the left with my finger and gradually dial in by sliding to the right. The amount to Gaussian Blur I want, what I want is to get rid of some of that grittiness just in the skin tones. And also it's giving you a nice soft focus effect to the people in the picture. I've gone for about four signs. That will do for me how much you use depends upon the picture. So I'll tap once more this time on my adjustments icon just to commit to that. And let's take a look at that before and after. It is without the softened layer. That is with a softened layer. That is the effect I've seen people pay a lot of money for in photographic studios. But there is one more step I would like to add to this because it's something that just happens when you do this process. The skin tones are looking rather yellow. I'm not sure I like that. Well, okay, not a problem. Let's fix that. And on the way, let's show you another use for our layer blend mode. Come to our layers panel and add an extra empty layer. Now I'll come to my colors and I want to choose a generic skin tone. Doesn't matter whether it's light or dark. Make it about halfway saturated, that's completely saturated, That's completely unsaturated. About halfway saturated. And you can see I'm choosing kind of an orangey color. This will work for most skin tones. And all I'm gonna do is come to the little color circle at the top, drag down and I'm going to flood the entire layer, come back to my layers panel, and tap on the little n which I'm circling now. This time, I want to drag all the way down until I come to color. What this is doing is taking the color of the layer for the top layer, and it's applying just the color to everything beneath it, not how dark or light it is, just a color. And you can see it's giving me some more natural skin tones. But the entire picture has now got the same color. I don't want that. So I will tap and I'll choose mask to create a layer mask. The layer mask is selected because it's in deep blue. I'm going to tap on that little white area or the Layer icon, and I'm going to come to invert. Now everything's invisible. We've done layer masks before. But now what I'm gonna do is I'm going to choose a paintbrush. I'm in the airbrushing brush set which comes with Procreate. And I went to choose medium airbrush. There it is. My opacity is set to maximum my process size. I'll make it a fairly big, just big enough so I can quickly cover the skin areas and I want to reveal the layer that my mask is attached to. So white reveals, let us choose white. Now let's come to this lady on the left. And I'm just going to paint just in the skin tone areas and look at that. The skin tone changes. That is too strong on effects. So I will come to my layer for our play around with the opacity. Take it right the way down to 0, gradually dial in the amount of color change that I want because I don't want it all to be one single color. Fat just looks unnatural in general when you're playing around with the facts, it's always a good idea to take the layer with the effect, take the opacity all the way down to 0 and gradually just dial in the effect you want. I'm gonna go with around about there, maybe a little bit more. I've got 44% use what works best for you. And now I got that. I can just come around and all the skin areas I can just paint n. This is quite a subtle effect. And before I do anything else, let's make sure we're painting on the layer mask or not layer for now from here, let's just come in. I just take some of those yellow areas and you can see but hopefully you can see me doing it. I'm just doing the girls right on now, just a side of her face. And a dear old dad, I'm doing him now. Now I've got a much more natural skin tone from the, well, that's a column. I made sure that the layer four is now selected because now I can come in to say hue saturation and brightness. I can change the hue to wherever I want look, that's much more of a purply red. That's much more green, which I don't like, but I'm just showing you this so that you can see that you do have options with this. I'll take it back to pretty much where it was. It's working there and tap with my finger on my screen and come to apply the effect. If I come and I swipe right to choose everything I used to make up this effect, put it inside a group, close the group. And now if I make the layer invisible, That's what we started out with. That's what we've ended up with and it practically works itself out. Okay, that is it. Let us see you in the next video. 9. Make a Soft, Grainy Photo Effect: In this video, we're going to go for a soft focus effect, which is another one of these self working effects that really is very, very easy to do. So let's make a start layer one. Well, Yes, Guess what I'm gonna do, I'm gonna rename this to base. And so I know narrated directly adjust that. It may form part of the picture, but also I don't touch that. I've always got my original image to work on, right? Let's build this up. Just to show you the effect we're going to be working towards in a few minutes time, you're going to see this. Okay, let's get started. Duplicate the layer and we'll do what we've done before. We're going to change the layer blend mode. This time let's try overlay. Soft light. Hard light. I will go with overlay for now. I might change that later depending on what this looks like after I've come to my adjustments and I came to cause your blur. And I will just put my finger on the iPad and drag from left to right to adjust the amount of blur I have. And I'm gonna go with something that's fairly high because I want that soft focus effect, which I've certainly got. Let's take a look at this with soft light, which is too small and effect Hard Light, vivid, no, definitely not linear light note pen, light. Look at are these I think it's a toss up between overlay and hard light. Overlay. Hard light. There's very little in it. Will look. I'll go with hard light because I've used Overlay before and I just want to make it point that sometimes when you see a tutorial like this where someone says, oh, stick it into hard light mode, for example, it's tempting to think, well, it's got to be hard light because that person who did the tutorial on YouTube, which I saw used hard light. So it's always got to be hard light? No, that is not the case. It will depend upon the picture you're using for this. I'm going to use hard light because I feel that's what works for this particular picture and I'll rename it to soften. Okay, so it's given us a nice soft effect, but if I turn it off, things look harder. But if I turn it on again, the colors have shifted around a little bit. You may not want that. That's easy enough. Look, if I come to my adjustments and come to hue saturation and brightness, if I take the saturation down, you're not getting any colors from the top layer. You're just getting dark and light information so you get the original colors that you wanted. That's all very well, but I wanted to do a little bit more with this. I'm gonna take the saturation down a little bit to there. I'll tap a finger on my screen and press Apply. But while I'm here, I want to turn off my adjustments and turn them on again. This time I'm gonna come to, let's try curves. Now you've seen with curves before that you can adjust the dark to light. And in fact, there's quite a popular effect at the moment where just the darker areas get a little bit washed out. I don't want to do that, so I'll tap and then tap reset at the bottom. What I want to do is play around with the color balance. So supposing I come to read, if I put a node in the middle of my curves and drag it down or up. Can you see that? If I push it up, I'm pushing up the reds overall. So we get much more of a reddish picture. If I drag it down, I'm taking away from the rats, which means there's more green and blue, which makes a cyan or a teal color. What I can do is if I put my note up a little bit like this, then add an extra node towards the bottom. I can put cooler shadows like this. I can raise. They're at in the highlight areas, which I don't really want to do because I think that's too much. So I'm just gonna make the top of my curve pretty neutral like this. But like you're saying, Skinner just a little bit of cool into the shadows like that. And I can do all that because I'm playing around with a red channel. Don't forget, I also have green channels and blue channels. Now, just for the sake of showing you, I can slide the top note around like this. And I'm adding a little bit of cool just overall, I can also add a little bit of blue, well, more purple color if I want light fat, I don't really want that. That's just there to show you the possibilities of playing around with the curves on the different channels. I will up that note I added and deleted to get back to where I was because that is the effect I want. I will come back to my layers panel and turn off and on again. And I'm getting a much softer portrait. Okay, so what I'm gonna do now is come to my wrench icon. And you can see because I'm circling, I'm in the ad panel. I'm going to come down to Copy Canvas that copies everything that you can see, not just one particular layer. It copies all the different layers and puts them into one. If I wanted to lay a width, all those layers I just come down to paste afterwards. It works at all out. I get to my transform tool, I don't want that, so I will turn off my transform tool, come to my layers and they're at the top is something called inserted image, which if I make it invisible, nothing appears to happen. That's because this top image is a composite of everything that is underneath it. Alternate on again, what I want to do is come down to Noise and I'll do what I did before. I'll put my finger on my iPad screen and slide from left to right. And I can increase the amount of noise in the picture. Now at the moment, That's clouds, I'm getting a slight part of the fact I'm gonna come to blows. Zoom in a little bit and that's really quite gritty. I can increase the size of it as well. I kind of prefer it a little bit bigger like that. Turbulence. Well, that's supposed to increase the turbulence. I want that down a little bit because I'm finding it's too strong when it's like that. Because what I'm going for with this is the kind of grainy photographic field you sometimes get, especially with pictures which are taken in fairly low light. And this is the old fashion photographic film which can look very nice. So I'm including it here. The noises set a bit high for there. So I'm going to slide my finger back to the left to get that kind of effect. I think I will come back. It's my Layers panel and look before and after. And one of the reasons I made it fairly strong is because I can always come to my opacity slider, slide it down to 0, and gradually dial in the amount of noise that I want. Maybe about there. Okay, I've got my inserted image. I've taker for quite a strong grainy effect. Maybe as a general rule of thumb, we can say when you're going for an effect like this and you're adding something like noise, or you're increasing the contrast of your picture or whatever. Sometimes it's not a bad idea to make the effect a little bit stronger than you would normally do because, you know, you have the opacity slider and you can adjust it. It's not a 100%, it's lower. You get something more or less like that. Now the very final thing, the opacity is about where I want it, but the layer itself is set to normal. I'm gonna try one of the lightened layer blend modes. That's lightened screen. That's working nicely. Let's do it before and afterwards. This before, after screen being one of the lighter Blend Modes, take everything underneath it and makes it lighter. I guess what That's why they call it one of the lightened blend mode. And while we're experimenting, let's just look at some of the other lightened blend modes. Color, Dodge gets more saturated feel. Ad is going to create a very strong effect because that's what does light color. But subtle. So all of these I think I prefer, or color dodge gives us slightly saturated effect, but I prefer screen in general, if you're going for more natural effects, then screen is good way to lighten them. Multiply is a good way to darken them. But I want this to be lighter because this is a light photo. Now that I've changed the layer blend mode, Let's play with the opacity some more because I think now that I've done that, maybe I could do with it being even lighter or like this. Let's take a look at that. Let's slide to the right and group or to top. And so if I make the group invisible, That's what we started out with. That's what we ended up with. And it's a case of changing the blend mode of the bottom one and blurring it to make everything softer. I also played around with the color balance by using curves that I covered everything onto a new layer called inserted image and added some noise to that. And again, I played around with the layer blend mode. It is by playing around with things like layer blend modes that you can come up with all kinds of interesting effects. In fact, between you and the majority of the special effects that you see with photography these days are all based around the layer blend modes. And you can see we used a couple of them here to create this effect. Okay, let's move on. 10. Pointillism, Part 1 - Create a Brush: Okay, For this video, we're going to create a point holistic effect. Now just in case you don't know what pointillism is. This is what will end up with by the end of the tutorial. And traditionally this was, I think the start of post-impressionism with Sierra and people like that. It's where you have different color points next to each other. And when you stand a certain distance away, your eye naturally fuses those colors together to create a color which is a composite of all the little dots. I'm probably the reason why we have color TVs and color monitors these days because they do the same thing, different amounts of red, green, and blue dots. Let's get started For this. I want to do a little bit extra. I wanted us to create a brush which we're going to use to create our point holistic effect. And if I come to my brushes, if I come to one of my own directories, DC blobs, the one I want is this one called DC pointillism Alpha. And if I just scribble, you can see those little dots. That's the brush begins to be using on a layer mask to reveal whatever is underneath. So I would double tap to get rid of that. And let's create one. I'll create one from scratch so you can see the whole process. So in my brush library, I'll create it in the same directory. I will just tap on my plus sign to create a new brush. Now the most important thing for this is the shape. So if I come to my Shape tab and I'm gonna come to edit, I want to import a shape which I did earlier. So import a file. Now, bouts, is it there? I'll make this available to you. It's called dabbled 01. It's a simple PNG file. If I tap on it there. Okay, That works for me. So I will tap on done and that gets imported. That is my basic shape. But let's go through some of the other types to set up the shape. But I want the moment for the stroke path for spacing. It's set pretty closely together. I want that to be spaced further apart. So I will come to my spacing and drive this up to about say, Javier with around 40% or 41%, that's fine. And you can see when I move my spacing around, all those little shapes which go to make it my brush stroke placed farther and farther apart. So about there. Now I did say 40%, that's on 41%. You may be following along and you want to get the exact numbers. That's not a problem. Just tap where it says 41% and you get a numeric entry and tapping 40. And there you go. Okay, for this stabilization, I don't want any stabilization taper, not interested in the shape. Well, that's where we imported stuff in. It's looking very regular, so I do want us to scatter around a bit. And you can see when I up my scatter slider, you can see the brush head is turning around. So each individual stamp is now going to be put down at a slightly different rotation or angle. That's what I want for the grain. Will I don't want a green that I just want the dots for the rendering. I'm gonna go with intense blending because I don't want any painterly effects here. I just wanted stamped down, just a simple brush stroke for my wet mix. I don't really want much of this. I want to take my charge down to disabled my poll. I'll take that down a little bit and said, No, this is all fine color dynamics. Well, if I was using this as a point holistic brush to actually paint with rather than use on a layer mask, I might want to play around with things like the hue and the jitter. In fact, we looked very quickly. I'll show you this. I'll clear the drawing pad and I'll paint using say, a red color like that. I also things like the hue. Can you see each individual brush head stamped down becomes a different color? That would be useful if I'm actually painting, using this as a point holistic brush rather than a layer mask brush. But I'm not, this is just to reveal things on a layer mask. Dynamics. Do I want this brush to vary its size or its opacity by how fast I move my brush. Now I don't same thing for this jitter, but with the Apple Pencil. Yeah, this one I do want to take a look at because the top but the pressure, this controls what happens with how hard I press with my pen. And I want to be sure that the opacity is set to maximum. So now if I draw very lightly, I get a fairly phone stroke. If I press harder, I get a stronger stroke. That's what I want because I'd like to be able to vary the opacity of the dots based on how hard or soft I press properties. Well, I do want to change a couple of things here. For smudge. I can use brushes like this if I want to make streaky smudges and that can be good for hair. So maybe I can double up the usefulness of this. I don't want this to be a very strong smudges. And let's just take to around about say what, 2526%, the brush behavior, yes, I will change the maximum size because I want to alter the size of this brush head by quite a bit. Because sometimes I want to make large dots. Sometimes I will want to make small dots. So I want to increase the maximum size of it right the way up. Some very large amount. Minimum size can stay where it is. Maximum capacity set to max. This all looks fine. Materials. I'm not using this as a material brush About this brush. If you want to put your own photo there from photos. And where am I There? Me. I can give this brush in nearby tapping at the top. And that's called this new Alpha 01. So I know which brush I've just created where it says sign here. I would not advise putting your signature right, that if you go to send this brush out to the world because then everyone can see your signature. But what I will do is I'll create a new reset point. What this is doing is saving all the settings I've made. And so if I come back in and make future settings and then decide I don't like them. I can just tap on reset brush. I think we are done for that. And there it is, nu alpha right at the top. That is the brush we're going to use to create this effect. 11. Pointillism, Part 2 - Create the Dots: Okay, welcome back. Let's set about creating this point holistic effect. I'll make this a little bit smaller so you can see what I'm doing just by pinching into zoom out a little bit. Now, one thing I should say at this point, I will show you the technique, but don't expect you all to look exactly like mine because there were so many random things that are gonna be going on in here that if I was to do the same tutorial two or three times, I'd probably end up with a different result. And I think this is the kind of technique that reward experimentation. That's one reason why this tutorials come up a little bit later so that you see in similar techniques and action. And so maybe you're a little bit more confident to try experimenting yourself. Alright, let's show you the basics. I'll do what I normally do. I'm gonna name it to base. And then I'm going to duplicate my layer, make my base layer invisible. For my base layer, I'm going to do what we've done before. I'm going to add a mask. So now there's a layer mask attached to this. I'm going to invert it. That's double-check my new dotty Alpha 01 is chosen, white is selected. I wanted a 100% opaque because I definitely want to see the person underneath. Now what about my brush size? That's gonna be way too big, 41%. Let's take it down to about, let's try to around about what we aren't 11%. Let's zoom in a little bit and start to scramble and see what we reveal. Sure enough, if I keep on scribbling, can you see an I? It's just coming into view there. This is quite a small brush size. Wondering, well, I'll definitely see plenty of detail. Same time with pointillism quite often the dots are fairly big. So maybe I'll double-talk to undo that and should increase DOP disperse small amount. Maybe. Let's try 13%. And that is giving me more of an effect that I want. Now maybe I'll try adjusting the brush size a little bit more. Actually, I was traveling a bit more. It does pay to experiment at this point, I'm on 15%. I think. Yeah, that's about the right amount of dots that I want. So what I'll do is I'll come back to my brush slider again. Tap on the little plus sign, and that creates that little blue notch just on my slider of what that means is I've made my brush size bigger or smaller. But if I just tap on that notch, the brush slider snaps to 50% again, that will stop me from creating lots of different size brushes are so different sized points because once someone's doing pointillism, they tend to use the same brush. Just dot it down lots and lots of times. I'm gradually revealing the picture underneath. But what I will do is my background color. I'll change that to something a little bit more midterm because at the moment is just way too bright and it's confusing what's underneath it. Now, do I want well, I can either make a similar flesh tone to what's there. The background actually serves to add to the overall skin tones like we did with the charcoal and short tutorial. So maybe I'll go with that for now and just scribbled. Just incidentally, I think a lot of the times they impressionist used white canvas to build up on top off. So I'm already getting a little bit off script with this. But if I zoom out and just make plenty of quiz scribbles, you can see how the page is just gradually reveals itself. And the denser the pixels are together. The more of the effect you see like this. That's not bad. But I want to do a little bit more with this, don't I? Always? Because the thing is, if you remember me saying pointillism often uses a series of complimentary colors to create a third color. Now all I'm doing at the moment is just revealing whatever is underneath and also this quite a bit of sharp detail there. So I'd like to sell the effect a little bit more. I'm gonna come to my base layer and I'm going to come to Gaussian Blur and I'm going to agitate a little bit of blur to this. Because if you're putting a whole lot of points down, you're not gonna get a lot of detail within the points. This will make it what I've used 3% there. It's not much, but it's enough to take away from that all that fine detail which was in the background. All right, now this is what I'm gonna do. I'm gonna take my base layer and I'm going to duplicate it for my layer mask. On this layer, I'm going to clear it. I don't know, let's say my base layer. And I'm going to play games with a color, well with the hue, dark to light, I want to keep, but I'm gonna move the hue over a little bit to somebody quite extreme, that's definitely a purple there. Tap up and come back to my layers, add. Maybe I should rename this to color shift 01. Gonna take that color shift at 01 layer, and I'm going to duplicate it again. And I will name this too. Color shift 0 to I want, I'm gonna do with this is come back to hue saturation and brightness. And I'm gonna shift it the other way or like this by a fair amount. For both of these, I'm going to invert the layer mask. Let's start off with color shift 01, makes sure the layer mask is selected. My same dotty Alpha brushes selected with white. And now I'm gonna come back and we're going to scribble some or you see where I'm scribbling, I'm getting a slight color shift in the areas where I'm scribbling, like bears are very fast. I'm working very, very fast. Quite like the greens in this area down here. Putting down that much warmer pink, red color. Now, I want to come to my color shift SiO2 layer, come to my Layer Mask, Make sure it's the right layer selected. And we can about some of these. Hopefully what you can see, I'm using a bit of pepper and salt here. Because that's what the impressionists would do. I might use complimentary colors to create a third one. And if you think it's looking a little bit strange, actually, I've been quite cautious with this. And if I wanted a little bit more of the original color, come back to my layer mask and just add in. The original color of my friend is yes, he's a friend. Better looking than me as well. But he's also a really nice guy as well. Some people, some people. Let's come back. Let's try a color shift, CO2 because that's giving me the most marked effect. Once I've done this, I just made a classic mistake, which I keep on telling you not to do. I chose the color layer rather than the layer mask layer. So let's start to undo what I was doing. Double tapping. Take you back to a bit. Now let's come to our layer mask for my color shift to layer. A little bit of random in that, once I've done this, depends how adventurous I want to get. Come back to the color shift 0 to layer this time, are ready, ready. Do want it, honest? I'll come back and I'll alter the hue, saturation and lightness again. Because once I've got the overall effect in place, I can play around to get the effect I want look, I can go well that that's way too much water. I need these three different layers to play nicely with each other. When I say play nicely with each other, I can still have a pretty vibrant effect. Because that's what you get with pointillism. Awesome. Not going for a subtle here. Let's try the other color shift layer which I used, change the hue saturation. And prior to that, I quite like what that's doing. What about saturation, brightness and darkness? I can play around with that. If I rarely want to get adventurous with this, look, you can see if I disable the layer masks. I shifted everything around as a whole. But maybe save this particular layout works quite nicely for the shirt, or may be in the shadow areas of the face, but not so much in the highlights, especially this one. What I can do with this is make sure the color shift 0 to layer is selected. And I will change my brush, our counter, my airbrushing outcome, too soft air brush, change the size, maybe lower the opacity so I can build it. Now. Let's put that on full Come on. Let's be experimental and then come to hue saturation and brightness. But instead of adjusting the layer as a whole, I can tap on the little triangle just at the top, and I can choose pencil. Now, I'm going to be putting down colors with my soft air brush in this lighter area of the skin hair. And once I've done that, I can play around with the shoe. All I want, the brightness, the saturation, everything. I get something which creates what ever effect. I want maybe around that. And I can extend this into certain areas. Once I decided yeah, I'll go with that for that particular area, I can come to apply. But once I do apply, I can now carry on painting. So I'd come to the other side, the shadow area of his face and I can adjust each other for that to wherever I want and maybe something around there is looking quite interesting. You can see how somebody got these kind of blue colors, which I'm quite enjoying that. And if I decide that live out, where else is it going to go? Maybe around his shoulders and tap again and I can tap on Apply and I can repeat it again. I can come down to where his color is on the right-hand side and I can play around with it to get what ever I want. Almost side-to-side. I like that. I can come back to, for example, polis panel that commits everything there. Now the background color. Let's take another look at this. While I'm doing is I really, I'm making this up as I go along. Not the technique, but the color decisions I'm making gradually build up things this way. And it's a combination of that scribbling loss on these. It layers, different layer masks of building up the effect as a whole. All the decisions you make are gonna be slightly different every time. There is no reason at all why you can't add as many of these layers as your memory will allow on the iPad. Just to show you what I mean, If I come to my gallery and I load up some more examples, same subject matter with a slightly smaller brush. And you can see all the various things I've got here. If I come again to this one, a slightly larger size brush. This time I think I'll use maybe more than two extra layer masks. You have to accept that it's gonna be a little bit random, like the one I've just done by comparison to the others, is actually a little bit more restraint, especially if you can pair that with that. For example, when I said to you at the beginning, don't try copying exactly what I do. That's what I meant because I did the same tutorial three times and they came up with three wildly different results. It can be just something as simple and straightforward. Straight reveal of the photo using a layer mask. But then you'd start shifting around the colors to create the final effect. That is the end of this tutorial. Thanks for watching. 12. Pop Art!: All right, Let's make some pop art. I hope you know the kind of thing I'm talking about Andy Warhol in the 1990's. Well, we are going to be ending up with something like this. Let's make a start. Guess what we're gonna do now. Yes, you're right. We're going to rename this to base, just like we've always done. That is our safety laugh. And I will duplicate and make the lower layer invisible. Okay, so what I need is a very stark contrasty black and white image, which I can add color to. Straightforward enough, I will come to Gradient Map, which we've used before. And it just so happens, I have the right gradient that I want a simple black to white or thing is we want a little bit more than this. So what I'm gonna do is I'm going to tap on that dark to light gradient about there. And I'll tap on that new node which I've created, and that is going to be straight up black. I'm gonna create another one on the other side. And I'm going to tap on that and I'm gonna make that white. And now it is a case of just moving these close together. See that I'm getting a very stark contrast the image. But the thing is that is way too dark. I need more detail in this. So it's a case of moving these nodes around until I get the look. I won't no, I don't want it to delete that. I think I pressed on it for too long. Well, straight away, that is looking very nice. Let's just have a play around with it. What I'm looking at are the eyes because as I keep on saying the eyes are the most important part of any photo portrait. The eyes, It's always the eyes. Let's see if I can refine it a little bit further. There. That's looking very interesting. The eyes, maybe the nose and the mouth. That's what I like. You can see it's very contrasty. That's fine. So I will tap on my adjustments icon again. And there it is, That is committed. The only thing about it is, I'm not so keen on the hair. There's a lot of nice detail in the hair which I've missed out look. There's quite a few highlights. And so what I'll do is I will duplicate my base layer again on our drag this one up to the top and our Pete, I will come to gradient map. But this time I'm gonna play around until I start to get some highlights appearing in the hair care. And you see that it's also creating a nice softer effect as well around the eyes. But if we're going for the whole pop art thing, this has got to be very crisp. So what I'll do is I'll make some definite decisions About what I want. If I want a very contrasty picture, either black or white, these two middle nodes, which I'm sliding around now, they've got to be very close together, something like that, for example. And I will tap on my adjustments again to commit to that. Now I have the layer underneath, the layer on top. So I just wanted to reveal parts of the layer on top. And by now you should be able to guess what I'm going to do. I'm going to create a mask. I could do this either way. I could either conceal the bits I don't want or reveal a bit I do want on the top layer, I think I will first of all invert this. And then I'll reveal the bits on top because the most important part of the picture is the eyes. And so our availability underneath relative to the most important bit of the picture. For this, my layer mask is selected. What paintbrush do I have? I will come down to my airbrushing brush set and I think hard air brush that will do me just find just down at the bottom. The last thing I need to select white and I'm double-checking, I've got the right layer, the opacity, a 100%, my price size, let's make it a fairly large size. And then I can just come in and just reveal the bits I want all my precise bigger because this doesn't have to be very careful operation. There we go a little bit around here. I'm getting a much more interesting spiky effect around the outside as well, which I do like, I'll make my brush a little bit smaller. Zoom in a little bit because there's one or two find areas, I think just around where the hair meets the forehead. Yeah, you can see there's a lot of nice detail in here which I would like to include. And I will swap to black again because there's one page just above the eyebrow which I think I went a bit too far on. Okay. Is there anything else I wanted to do here? I'm going to paint in white again to reveal a little bit more of the top layer. Because this, this little bit here I want a nice, pretty clean line, just also just down the bottom there. Like some definite edges here. Nice, simple shapes. And I'll get rid of those slightly gray areas. I'm not going to worry about them too much, but I want a nice simple finish to this. While I'm here as well. There's a little bit of detail under the nose, which I don't particularly like that. And I think that's pretty much my basic image. So I can work with that. Just while I'm here, is that anymore I can do with this. I'm just wondering about the details around the nose and the mouth. So I'll do one small duplicate, drag up to the top and repeat the same process again, but this time I'm going to concentrate just around the nose and the mouth area to see if there's any more detail around here. Which could do with the revealing. Because you have those little marks around the side of the cheek and maybe around the side of the nose. There may be stuff like that is worth taking a look at. So this time I will just tap on my Layers icon and repeat what I did before. I will add a mask. I will invert the mask. A layer mask is selected, my brush is selected, everything is selected. So let's just see if we can add a little bit more detail. Just in these areas here. Just around the nose. Because I want a very minimalistic look to this, but I don't want it to be too minimalistic. Now what about around the mouth? Yeah, that's working on getting more of a sense of where the lips are and whatever maybe around the teeth. Is it worth taking a look at this? I think it is, yeah. Not too much. You don't want to concentrate on the teeth too much. Sometimes you see people drawing in the lines in between the teeth and it never really works. Think of things like teeth as being a solid mass. I like it in some areas, I'm not sure I like it around the math after all. So let's just try painting in black. And I prefer that slightly more minimal look where I'm just suggesting the areas around the mouth. Always be wary of putting in too much detail in a place like that. Now what about that knows a little bit by hand. I know most of this itself working, but occasionally, you just want to go in and just have a little play and see if we can improve things. Well, I quite like that. So what I will do is I will slide across and choose everything that makes this image. I will group them and I will duplicate the entire group. And then I'll tap on the icon just where I'm circling now, allow comes up flattened. Now I have a new layer, which is everything inside that group which has been flattened. All right, that's all straightforward. Now, let's start coloring this in. To do that, we will use a layer blend mode. We will come to multiply. Now I know it doesn't look any different, but with the darkened layer blend modes of which multiplies probably the commonly most used one. It affects the layers below anything which is white becomes invisible on this layer and anything which is black is completely visible. That suits us because if I come to my background color, I can choose any color I want. Well, let's pop out. So it's not gonna be very subtle, is it? So let's choose some fairly contrasty, fairly light colors. Let's choose a pink color like that. Then we'll look, I'll keep my new group because it might come in useful. You might want to delete it depending on how your memory is going. But now all I do is I create a new layer and I can add that underneath it set to normal mode. And now what I do is I come at hard air brush will do the job for me. It just fine because in pop out you see these large areas of hard definite color. And let's choose something not very subtle for this, let's choose, Let's choose a kind of a tail and we come to a hat. Let's make this bigger. There is your first bit of silkscreen printing. And you'll notice where the pop art quite often, the border of the color cuts over the line work. So I know it's going over like this. That's okay. It's Pop art. And actually, let's come and I'll hold on the eraser. So it picks up the same brush as always using to paint with. And let's just get rid of some of these bits because I think it's working in some places, not so much in others. In fact, I quite like the way we are getting part of the effect in some areas of the hair, but the pink background in other areas. I mean, that's working quite nicely. Let's just refine this a little bit like that. Then for reasons which will become apparent soon, I'll create a new layer for this. Again, let's not be subtle about it. Let's just choose a yellow. Fill in or out it. Come on, let's just make this big and fast. Let's create a yellow around. Let's give a bit of spelled, just a mess things up a little bit. We will create another layer unless you choose a straight white for this, make my brush a bit smaller and we can paint the teeth area. I don't want that spilling over too much. I'd like that to be quite tight. So come to my Erase tool, make it a bit smaller and a bit finer. Get rid of it where I don't want it. Come back to my brush tool. Just tie this up a little bit. Let's deal. Whites of the eyes show weight. Eraser just to get rid of the loose bits. That is one of my images I love just while I'm here, I can do other things as well. I can throw in a little bit of list and Stein, if I came to Halftone on this one particular layer. In fact, let's do that. Let's throw in a little bit halftone on that area for color. Screen prints. That's getting a little too enthusiastic for my tastes. Or newspaper. Look, this is for experimentation. I will go with the most straightforward one like this. You use whatever you want. Now I've done that. I'm gonna come back to my eraser because I don't like the way it's bubbling out for want of a better phrase around here. You have hard areas for this or at least the originals did. I just want to come down to my blue layer again. I will sample that blue directly from the canvas. I'm just going for a certain look with this, a certain look that I want to take forward a little bit down here. All right, That will do for my first image. I will come to my wrench icon and I'm going to share, and I'm going to save this out as well. I didn't get for a JPEG exporting. I don't know, come to save to files, put it into my portraits can't draw folder. And let's name this to one a save. Now, the reason we put things on different layers is look, if I come to my background layer and I will choose a different color for this. If I come to my blue layer, hue saturation and brightness and just move it around to another color like that. That's how quick it is. Come to my yellow layer, hue saturation and brightness. And move that around to where I want that to be. Who play around with the saturation parameter, the darkness of brightness. I can do that. Share that as a JPEG exporting, save to files. It'll go to the same place we call this pop out one b. Now, I want four of these, don't I? So I will just do the other two now. Background color. We are not going for subtle here. For this one, I'll try taking out those white bits just to mix things up. For the layer turn, which has those dots on, I'm going to come to Alpha Lock. And I think for this, I'll choose a pink color. My brush is selected. And I'll just draw over the top for it like this. So I don't have that dotty effect there. Just to mix things up. I faded out and fade it back in again because I figured you have the principle by now. You take your basic image, you move things around. This is the final one I've done. So let's put them altogether. I want to come to my gallery and I'm gonna create a new file. You can see just to the left, I have a half pop out 01 twice. Because when you're working with stuff like this, you import your picture. Then the first thing you do is you duplicate it. So you always have your original file there just waiting for you to call up again on the file size while they are 3 thousand by 3 thousand pixels. Now, I'm hoping you've got enough memory on your iPad to do this. Because now what I need to do is come to six thousand. Six thousand is this going to work? That gives me a maximum of ten layers. That's okay for the iPad I've got, but I can't make any assumptions about the kind of iPad you've got. So look, I can take this to 4 thousand pixels. And 4 thousand pixels. Whoops. That gives me maximum layers of 29. Just in case you're worrying about the DPI is set to 308, won't make a blind bit of difference here and explain exactly why on other courses. But let's not go into this now outcome to create. Now 4 thousand by 4 thousand. Let's import the photos to do that I could do with a little bit of guidance. So I will turn on the drawing guide, etc, grid, which is what I want. I'm going to edit my drawing guide. I'm going to make my grid size nice and large. The reason being is I want to know where the center of my canvas is. It doesn't really matter what size you do this because I'm going to turn on Snapping afterwards. But as long as it's clear where the central lines are like with this size, I'd never be able to tell when it's nice and big like this. Yes, it's obvious. So I will come to done. Then. I will come to my wrench icon and I will come to, and I will insert a file. Now, I save them here. There we are. Pop art, one eye. Let's make sure if yours isn't made sure that snapping is on by tapping on it and turning on snapping here. Now what I do is I can move it up until eventually you'll see little snapping lines appear just in the top right. Can you see that? Then I will come to the bottom right node and I'll push upwards until I get just to the halfway mark and it snaps in there. Good. And come to insert a file again. Pop out. Move that up. Snapping. Look, if I zoom in and I move around, can you see just wanted to move in, it docks with those two little kind of yellowy orange lines. Whoops, move too far. Let's move it back again. All right, this time, come to the bottom left node and push upwards until it snaps into place to insert a file. Third one, let's break this down until it snaps. And the top right node pull down. The final one. Move it down until it snaps. Top-left, pull it down, tap away and, and, and verifiable thing. So I can see the full effect come to our wrench icon, come to Canvas. Turn off the drawing guide so it's no longer showing up there. You have it apart. Each one is slightly different. That's what happened in the original R. Be interested to see what you could do with this, because this is pop art, but we have a whole load of effects that we can apply to each one of these things. So why not a bit of Neo Pop art? Is that even possible? But what I would also like to see is your own original picture. Let's see what that looks like with this, and let's see what color combinations and different filters you can do with this to come up with something which is truly unique. That's pop-up. I hope you enjoyed this one for watching. 13. Thanks for Watching!: Okay, This is the final video of the course, and you'll still hear, well done. One thing I've learned during these videos over the years is that there are a lot of people who would like to be able to do something, but there's a lot fewer people who actually see it through and get things done. And if you're listening to verse, that means you're one of the finishes. Well done for that. Now if you'd like to know more about the various tools and techniques we've covered here. Then I've got you covered. I have procreate the first guide, which is four hours worth of videos all about the various features of Procreate. Or if you really want to master procreate, I have the procreate solid foundations series of videos that comes in at around 17 hours worth of in-depth tuition plus exercises. So you can master all aspects of Procreate to a professional level. So maybe I'll see you on one of those courses in the meantime. Thank you for watching. I hope you learned a lot and I hope you get to make some great portraits. Take care and I'll speak to you soon.