Procreate Practice: Drawing Butterflies in Procreate

1. Introduction: I'm Danielle Kinley Ryland an Illustrator out of San Diego, California. My absolute favorite tool for creating illustrations is the app Procreate. In this class, we're going to use Procreate to illustrate three different butterflies. This class is perfect for someone who has the basic skills in Procreate down, but really wants to work to sharpen those skills to create some really beautiful art. Let's get started. 2. Supplies and Class Project: In this course, you will need the iPad Pro or the latest iPad, a stylus of your choice, I prefer the Apple pencil and the Appropriate. We will be using all native brushes to procreate so you don't have to go out and buy any brushes. Your class projects for this course is to draw three butterflies and procreate. You can absolutely follow along with me and do the butterflies that I do. Or you can branch off and do your own. Even if you draw one butterfly, make sure you upload it to the class projects so we can see you beautiful work. 3. Getting Started: The first thing we're going to do is fire up our iPad, open up Procreate, and we're going to set up our documents for our butterfly artwork. The first thing you're going to do is add a new canvas. I like to go with something smaller. I'll choose like an eight by eight. I like this square format for just a single image. We'll go ahead and click on the eight by eight. Go back to the gallery. I'm going to do this three times since I know that I'm making three different butterflies. I'm just going to do a little bit of work on the front-end to make sure that we stay really nice and organized. Actually let's name those first. I did some research on butterflies already. I know the three that I'm going to draw. The first one is the Blue Morpho. You can do the same butterflies as me, or you can choose your own. It really doesn't matter. If you want to copy exactly what I'm doing, that's great. If you want to do your favorite butterfly or something different, that's totally fine too, whatever works for you. The other one is a Monarch, and the last one is a Painted Jezebel, I can't spell. Now I've got those setup and named. I'm going to select all three of them and stack them. I like to create stacks obviously, so that I just don't have all these different pieces of artwork. Then I don't know where to find things that just makes things a lot easier. I'll just call this Butterflies. Now we're set up, we can go into that stack. We're going to start with the Blue Morpho. In the next video we will get started. 4. Sketching the Blue Morpho: Now we're ready to get started. I'm going to pull up from the bottom here and I bring up this menu. I'm going to use Safari. I already have Pinterest open here. You can use Google or whatever search engine you like to use for photo references. But my first butterfly, the blue morpho. I'm going to put in here and then it's going to bring up a bunch of images of the blue morpho. The one thing I would be aware of with butterfly pictures is that some of them tend to be photoshopped. Some of them tend to be the paintings, which can be really beautiful, but you probably want to draw from a real photo. Just getting a clear photo. This one's great. We're going to use this. this is our photo reference. The first thing we're going to do a sketch, so we're on layer one. This is going to be our sketch layer. We can name that sketch and my sketching pencil is going to be under sketching and it's going to be the 6B Pencil. You can use other pencils for this, but I think it tends to be the best for sketching. The first thing with using a photo reference is just really looking for shapes. The first shape I see here is this top wing and so I'm just going to lightly replicate that. I'm not going to try to center it on the page. I'm just going to draw this shape because I can always resize what I'm drawing. I don't have to really worry about drawing too big on this first sheet. I'm just going to try to replicate that as best as I can and this is a lighter version and then I can really be rough here, because I can go on and fix it always. I can always go in and erase too. it just does not have to be perfect on this first go. Let me give myself a little bit more room here. We're going to really pay attention to this really nice arc that its wing has. It's really pretty and I think pretty distinct to the morpho. Its cool name, right? Then we are going to go down here and connect it and then erase any of the lines that just aren't working for us. Now, this sketch does not have to be perfect because it's not going to be in the the final drawing. It's not something to worry about. I've got that first wing shape actually want around that a little bit better. Now I'm going to make that bottom wing shape. I see there's look for where this line comes out of the first line. It's straight to start with and then where it connects to the top wing and how big it is in relationship to the top wing. I'm really drawing the second shape in relation to the first shape. Then I can clean up this mess down here as well. That's fine. I like that. What you'll notice too is that there's some scalloped edges here. I can go in and add those as well. I'm just going to add this little bit of a scallop. I'm not really paying attention to how many scallops there are, you can be more exact if you want. But for me I just want the general idea. I find if I get too detailed and to exact, then I just try to be too perfect and then I add usually too much detail and it can get a little bit muddled. I try to be a little bit more loose about those details. Unless I was drawing for a science book, I'd probably want it to be super exact. I guess it depends on the final use. Then I'm just going to clean this up a little bit so that you can see those scallops. That's good. Okay. Now you can draw in these lines in the sketch or you can save that for the coloring phase. I like to draw as much as I can in the sketch phase because it just makes the coloring phase a lot easier in my opinion. Actually that's even. I'm going to go ahead and start adding in just the little bit of details that this butterfly has. It doesn't have to be perfect. Try to be as loose as you can with this. These are all just leading into this part of her wing. Another thing I like to do because when you're sketching or when you're drawing, you tend to get really close and so you're seeing the fine details. Then when you push it back out, you can really see if you like how the whole thing looks. Make sure that when you're in really tight that you also zoom out so you can really see what everything is starting to look like. We'll go down to this bottom one here and do the same thing. See this line that comes in right about here. That really mess that one up, but that's okay, I've got eraser. Then these ones go up too, don't they? I can have a curve and these ones go up into this butterfly. So neat. I like that, that looks good. That's my first side of the wing. Now it's really pretty about things are really cool. Things that are symmetrical. In procreate you can just duplicate it on the other side. You don't have to go and try to draw this on the other side. If your free handing a butterfly, it's really hard to replicate the same exact thing. We're going to go ahead and select this with the arrow key. Then I'm going to make it a little bit smaller so I can fit another wing. Then I'm going to drag my three fingers down and I'm going to say Copy and Paste. Oh, man. Okay, sorry. We're going to have to do that again. I'll undo that. Let's do that again. Make it get smaller. Now we'll click on it again and drag our three fingers, Copy, Paste. Then I'm going to click this button down here that says Flip Horizontal. I'm going to move it over to this side. Now, make sure it fits. I'm going to go back to my sketch layer and move that. It also fits. That actually fits perfectly and it looks pretty good. I'm going to combine these two. I'm just going to pinch them together. Now they're both on the sketch layer. This is all one layer now. Whenever I copy and paste something, it creates a new layer. You'd have to combine them if you want them to stay on the same layer. Now, she just needs a body. That's pretty nice to be able to save all that work. Now, her body is basically this circle, oval, really. Then she's got a little circle head here with buggy eyes and another one here. She's got these super cool antennas. I think actually she's got a little pincher mouth here. Yeah, that's cool. Then from here, she's got these really cool long antennas and you can get crazy with this part too. It doesn't have to be exactly what is on the picture. Then her little arms are going to come out from under her wings. The rest of her body is pretty hard to see. But I don't think it's very long. I think it's just this little short tail. You can always look at other pictures to find out more details about body shape and color and all sorts of stuff. Her body is going to be on top of her wings. We can erase the detail underneath. I can combine. We can mess with that. That's fine. There's our little butterfly. Then when I zoomed out I noticed some stuff. You just keep doing that. You mess with the details up close and then zoom out and see if you like it. Like this looks uneven to me. I'm just going to mess around until I get it right. For now, this is our sketch. She looks good and she looks ready to color. On the next video, we are going to color her in. 5. Coloring the Blue Morpho: The first thing you're going do before you start coloring is pick your colors. There's a couple of ways you can do this. For a photo reference or something that we want to have realistic colors or at least close colors, we could do this a couple different ways. We could go in to our color picker and we can try to match these colors by eyeballing it. It's going to show up here and we're going to figure out a couple different colors that we see within here. An easier way to do this, especially if you want these colors to be as close as possible, is to go into Pinterest, take a screenshot of your photo reference well and there we go. Now we can pull up Procreate again. We can insert a photo. Here we go. Now we have all these really awesome colors. What that's going to do too is it's going to put it into a new layer for us. So it doesn't affect our sketch layer or anything. Now I'm going to go over to Palettes. I'm going to create a new palette and I'm going to press down on the color that I want. I want this darkest blue first. I want to pick as many blues out of this like a fade type of effect. I just click on the next square and it will fill in the palette for me. I see this really bright color is cool. Let's get that one. That bright color is awesome. It's glowing. Then there's other colors mixed in here too. This is probably almost black but not quite black and this grayish color. Then this, I don't know what you would call that. Tan, I guess. Then down here is as different enough. We'll add it. Here are the main colors that we can use for the blue morpho and we can also name this blue morpho so we know exactly what it's for. It's our default right now, which is great because we're primarily going to be using this. Now that we have our palette setup, if we need to get rid of that layer later, that's fine. But we can just turn it off for now, we add a new layer. This is going to be our, let's call it wings. We make sure we're in this so that we're not drawing on top of our sketch. I do that all the time on accident and it's annoying to have to go back and fix it. Let's keep our Pinterest photo reference up. It's just nice to be able to see what we're doing. I'm going do the same thing where I start on this wing and then I move to this wing and then we can replicate it as we go. I'm going to start with that base color, that black color and I'm going to outline my butterfly. A lot of times I like to use the studio pen for my outliner. Unless my subject has really rough edges, then a different pen might be good. Let me go ahead and just outline this, I'm going to filler in. What you'll see is that my threshold is pretty high so that when I drop color in, I don't have any spaces in here. If your threshold is low, when you zoom in, you might see little spaces where there's white and that can be very annoying as well. You can either color it all in or you can drop it in or drop your color in. That's my base that I'm starting from. Now I'm going to go my wing layer and I'm going to turn on Alpha lock. That means that whatever I drawn in here will stay in this layer. It will stay only on something that has paint. I can only draw on this black piece while I'm an Alpha lock. I'm going ahead and choose my, my darkest blue color. I'm going to Textures, and I'm going to pick grunge. When I'm building out color, I really like the grandeur rush. It's really nice. I'm just going to push it out further than it actually goes so that I can blend it with the other colors later. There's a lot of ways to do this. Mine is not the only way, but this is how I like to work. Then I'm going to use the next color and then the next color as well. You have this tri color effect and I'm going to try to push it up to where there's that black. Great. Now I'm going to back in and push the color backward. If you look at this texture, it's got really nice texture. There's some brushes in here that are going to be able to replicate that a little bit. I'm thinking maybe a charcoal would be cool or even the artist crane would be cool too. Let's go with the 6P compressed and we're just going to push this color into the blue color and just start make this better. We're just going start blending it and also creating some pretty cool texture. It's okay if it's like streaky right now and stuff, we're going to do a lot of experimenting and blending and we're going to blend backwards here. So I'm going to blend into this one as well and into that darker color and then I'm going to grab that dark color and blend into here. There's a lot of pushing and pulling and messing around with that color and that's okay. Then I'm going to grab my smudger, this little pointy finger here. I'm going to use that same 6P compressed and turn it up and do the same thing. Now my black edges that I already had are going to smear into it too. It just looks just more smudgy and more blended and less streaky, I guess would be a good way to put that. This you can just really play with until you're getting the effect that you want here. Now, that really bright color, let's still use that 6P compressed and let's look at just a couple of different places where it's showing up. I think that's smaller. I'm Just trying to put that in a couple different places. We can add this in later two as we have the whole wing built out, but just to add it in right now. Then we can smudge around it as well. So it looks like it's just a little more fluid. This is a good start and a place where I would want to start putting in the lines in the butterfly before we continue to blend and color more because we will. We'll put another one here. We're going to lower another layer here. We can call this, I don't know what those are called, so we'll just call them lines because it only matters if we know what we're talking about and I'm going to lower the opacity of our wing so we can really see where those lines go. When I add in line detail, a lot of times I like to use, there's a couple of different ones either sketching, 6P, it's really a nice pencil, that or I also like the dry ink pen. It's really nice as well. Let's use the dry ink and let's just see. With this, there's a couple pens and pencils and textures and things that I always use and I always go back to. It just takes experimenting and don't be afraid to experiment or mess up, because that's how you find just the textures that you really like and that work for you. You don't have to use the ones that I'm using. We will try to mix it up a little bit as we go so that we can see the difference in the effects of each one. Let's use the dark one. I am on my lines layer and I'm going to draw these lines on top. That's a good thickness, maybe a little thinner and this is just my detail layer here. I can go nice and slow here. Now you see that line's a little bit wonky. Obviously I can just redo it and make it look better, or I can go into my pen, click on the pen that I'm using and if I up, this is just like a cheat, If you want to use it. If I upstream line, it's going to make my lines a lot smoother. If I get wonky, it'll round everything out, so that I don't get these weird jiggly lines in it. If you have a bit of shaky hand or have a hard time making things super round or really long continuous lines are an issue for you, then consider turning up the streamline. I'll leave it because it's fine. What you'll see too is the harder you press the thicker line, the softer, the thinner. It's just going off into no man's land to show you that. You can play with line thicknesses as well. If you look at the butterfly, there's definitely some different thicknesses so you can really have fun with this. There's her lines, she does have just a little bit more thickness in here. I can make that a little bit thicker and then that thins out and gets thicker here. You can go back in too and add a little bit of detail and the more lying variance, the more interesting it's going to be. Let's turn up the opacity on this and let's see how that looks. That's pretty cool. Now I want to add a little bit of shading to those lines just a little bit so that they look just a little bit more three-dimensional and a little less painted on. I'm going to turn that opacity back down and then, I can use the same pen or I can use a sketch pen and I'm going to turn down the opacity to about 50 percent and then I'm going to use this side of my pen here. I'm going to turn it up a little bit and make that all smaller, use the side of my pen here. Actually I'm going to turn the wings off completely so I can really see because I'm doing something really light, turn off my sketch too, so I want to be able to see what I'm doing. I don't want it to be that thick. Let's go back and turn that off. Then let's draw our little shadows here. I'm going to use a sketch pen or a sketch pencil, and let's see if that's better. I didn't like how the drawing was looking. That's what I'm talking about with experimentation. You can just double-click it or two-finger tap it and try something new, try something better. This looks pretty good, turn that up just a little bit, I think I want it a little darker and we'll see, I might turn this back on and not like it all and I have to start over. That's the beauty of digital, you can really experiment and really get a feel for what you like, because it doesn't take much to experiment and just scrap something or try something new or try it on a different layer and then just to erase the layer, so don't be afraid of experimentation. Now that we have that all shaded in, let's turn on our wing, let's turn on our sketch and turn up the opacity of our wing and then that's what we have. When I look at that, it's just not quite dark enough for me, so I'm going to turn the opacity down just a little bit again and then I'm going to go in on the lines layer and I'm going to just darken it even more. You can keep doing this over and over again, so I'll speed up the video as I go through this and darken these again. I like that better, especially this one. I like that a little bit better where we can kind of see a little bit of shadow. Then now that we're happy with our lines or we feel good about that, we can go back to the wing layer and we can really start blending these colors, in accordance with where they fall in between the lines. Let's go to our, start with light color, and let's mess around with the artist crayon. Under sketching, let's use artist crayon. Let's just see how that looks. This goes through here and right through here and a little bit in here. It's just like these really pretty glowy spots all through her wings, so we really want to make sure those are popping. Let's go to our smudge and let's keep it on 6B Compressed, and let's just smudge in these little highlights here. What I like to do with the smudge is smudge the edges and try as much as I can to leave the middle because it'll really glow in the middle and then the edges will blend. If you need to add more glow, and say, "This isn't glowing enough," you can always go back to that crayon, fill in the middle again, make it a little brighter, and then do the process again until you get the results that you want. That's a little brighter. A lot of this blending and multi-colored animals or subjects is a lot of trial and error, so that next lightest color, we want to add that on a little bit more too. There's a lot of really pretty light blue in there that has some really nice texture as well. We'll just paint that in a little bit as well. The artist crayon is really cool because it's a sketching tool. If you use the side of your Apple pencil, it really gives this cool texture, like really nice effect and it's not too harsh. It can be if you draw with it straight on. But I really like the effects that it gives when it's on this side and you sketch with it. Same in here. It gives this wings some really pretty texture. I think we have plenty of dark coming out from from the bottom here. I think I want a little bit more black on the edges, so let me go to my black. I'm going to use texture for this. I'm going to go around the edges because there's not enough black up here in the corner. Then you make sure that there's enough of it all around the corners. The grunge brush, it blends really nicely for things like this. I really like it. There's our first wing. I'm going to do the same thing for this wing down here. I'm going to speed through it or speed up the video through it because it's the same process. But the main important thing is that I'm going to put the layer for the bottom wing. Let's call this bottom wing. Below this one, below this top wing. I can turn it off while I draw, but I'm going to put it below because then it's going to show up underneath. As you can tell, the top wing is above this bottom wing, so I'm just going to make sure I do that as I draw it and I'll speed through it. Then I'll meet you after that's done. Now both of my wings are done, and I feel good about them. I'm going to go in and, there's a couple of things you can do here. You can either combine these three layers or if you don't feel comfortable combining them yet, because maybe you'll want to go in at the end and make edits, which I tend to do quite often. Then you can also duplicate each of the layers and then combine those and turn off the other. I'm going to duplicate the lines. I'm going to duplicate the wing, and I'm going to put that right under here. Then I'm going to duplicate the bottom wing. I'm going to put all of those under each other so it's the same exact thing. Then I'm going to turn off those original three layers, combine my duplicates. What you're looking at because it's turned on, is one layer so if I were to grab that, it's all combined. Now if I wanted to go in and edit it, I can like this, but they're not separate so if there's something I needed to edit separately, maybe I want to blend more, but I don't want to affect the lines that would be the biggest thing, then I can go in and change these ones and then do all that again. I hope that made sense. Now I have this combined wing so I'm actually going to rename that, and I'm just going to say whatever combined. We will call it wings, because it's going to be wings. I'm going to select that. I'm going to put my three fingers down, copy, paste, just like I did with the sketch. I'm going to flip horizontal down here at the bottom and then I'm going to put it next to those other wings. Now I have those in place and I am going to put my sketch layer so I can see better on top. I'm going to combine these two wings so that they are on the same layer, they're all combined wings. I'm going to add another layer, and this is going to be the body. With the body, I am going to, I think usually bug bodies are a little fuzzy so will use a somewhat fuzzy ink drying could work, ink lead would work. I'm going go with dry ink, I just tend to like it better as a pen in general. Let's see. I'm going to have to turn down the opacity on my combined wings so I can see a little bit better, there we go, and make sure I'm on the right one body. I'm a little neurotic about checking that because I have done it so many times where I draw on the wrong layer that it is made me a little bit crazy. I'm going to fill that. Yes, no white marks, that's good. It's just on the outside, it just has a little bit extra texture because of the pen, which is cool for a bug. It works for a bug. Then she's got this, we'll go with this color, maybe let's go lighter. We'll go with this color for her eyes here. I'm going go with something a little smoother, so I'm going to go with studio pen here. Let me just see how it turns out. That is too big. We're just going to draw her eyes here. Maybe a little bit bigger because this is going to be underneath her eye actually. Then duplicate that over here. Bugs are so weird, but cool. [inaudible] time I sketch a layer down to, if I need to see a little bit better, actually. Just mess with this, make sure it's nice and even. Then we can go back to that blackish color for the eyes. Then I think I'm going to go back to that, I don't even know what color that is, grayish color. Pick something that has a lower opacity to it, let's see, and way down here. That doesn't work. Let's see. Maybe we'll use our studio pen and lower the opacity, I just don't want it to be super dark, that's better. Just so it looks like there's a little bit of a shine on her eyes and you can see it in this photo reference as well. It's going to take me forever to get it perfect. Okay, good. Then she's a little bit of shine on her back to, let's use dry ink here. It's a weird little marking that she has on her back. You know what, let's use sketching, and there we go. I'm just going to give her a little bit of texture and then you see that color come in. Then it looks like she has a little bit down here as well, maybe makes some faint stripes there. Just so she's not a black blob. Some around her edges too. Before we do all that, let's turn on alpha lock, because we don't want all that on the wings, and that's going to show up on the wings if I do that. Some stripes would be good, and just a little bit of texture, a little bit extra color in there for her. Assuming she's a girl because she's pretty, I guess. Now we need that black again, and let's do our sketching. We're going to take off alpha lock and draw her antennas. Do it a little bit smaller, there we go, and this one as well maybe a bit shorter, and her little, I'm almost said pause, her little legs, feet. I don't think bugs have pause, okay. Let's just see what we have here. We're going to turn off our sketch layer, turn up the opacity of our wings. Let's fill that in a little bit. This is the time where you can look at the whole thing and say, all right, what's working? What's not? If I zoom out what becomes apparent and noticeable. Then you can make your final tweaks and edits and all that. If it's something major, you still have those original layers that you can work with and edit. But I think she looks really cool and so I'm going to duplicate the body and then I'm going to put it down with the combined wings, turn off the original, and then combine these two. Now I have a drawing that I can move around and that's one drawing and if there is something then I later go, I don't really like that or I want to change that and then I've got the layers that I can edit. But that's our first one. This is our blue morpho. 6. Sketching the Monarch: The next butterfly we're going to draw is the monarch. I've already pulled up a picture of the monarch here in Pinterest. I'm going to go ahead and open that up and take a screenshot. Then we'll go back to Procreate. We're on our butterfly stack. We're going to open up our monarch Canvas and go over here to this wrench, add, insert a photo, and we're going to add our monarch. I'm going to blow it up. That's going to be my first layer now. I'm going to turn down the opacity. I'm going to add another layer. This is going to be our sketch layer. If you're not really comfortable with drawing from reference, you could always trace the image. It's really convenient about digital is that, I can turn down this opacity and then use it as almost like tracing paper. My sketch layer, I'm going to make sure I'm in that. I'm going to use my 6B pencil and then I'm just going to roughly sketch out the outline here. This is totally fine to do if you're not planning on selling this piece of art, if you're just practicing and just getting used to the shape of things and getting an idea as to what an object looks like, then that's totally valid. We are just practicing here. We are going to trace this weird little monarch butterfly. This is also really helpful in understanding perspective. These legs are funky and just understanding how to make it so that it looks like the butterflies in perspective. I'm also going to trace just the main details here. The spots are things I might just add later. Put where these guys lay. These markings, I guess. Were they are I'm going to just trace where the black is, where the dark part of the butterfly is. This can be really rough. I'm obviously not being very exact with this because the sketch isn't going to be in that final piece. That's okay. Once we feel good about that, you could draw the flower to go crazy with this, but I'm just going to do the butterfly. I'm going to turn off that original layer and then I have this little rough sketch. I'm going to fill the page with it. We have a nice big butterfly. Now that we have our sketch, that was really easy. Now we can start to color. 7. Coloring the Monarch: Now that we have our sketch done and we're ready to color, we're going to need to make a color palette. We're going to do that the same way we did before, we'll turn the opacity all the way up and use that original photo. I'm going to move it over here and go into my pallets, create a new pallet and stroke color picking. This is really vibrant orange down here and then we just find all the different shades of orange that we can find in this butterfly. We need some black or it's not quite black, probably like brownish, really deep brown. I think there's almost like this one a pinkish tone, that's well. There we go. We'll label that the monarch palette. Now we're going to make a new layer. We'll start with the wings again. When we look at this butterfly, the base layer again is that darker color. We're going to start with this wing right here. We will use that almost black color. Let's go into Inking and Studio Pen. Then we will go ahead and fill in that thing. I'll fill all of that in. I'm okay with these lines not being super perfect because it looks a little bit more natural when it's not. That's okay. You don't have to be too perfect here. I'm going to click on the Wings layer and turn on off lock so that I can start blending my colors within this wing. I'm going to do this very similarly to the blue morpho. Let's start with the darker color. Let's use textures, Grunge. Then we're going to fill that in at the bottom where we see it on her wing a little bit. We can push it into other parts of the wing too and lighten up as we go. Now this doesn't have to match exactly the photo reference because its yours and you can do it you want. But I saw a lot of other pictures of monarchs with just, darker tones or different colors, so it doesn't have to be perfect because one of the beauties of butterflies is that they are pretty unique, even if it's the same type. If that made any sense. I really like this color. It's really pretty. Even if you make a palette from a butterfly or from nature, a flower or something like that. For something completely unrelated, it's a really great place to get palettes from because nature just has the most beautiful colors. That's just something I found to be really cool tip is that nature knows what it's doing. If you're stuck on colors look to a pretty picture of anything really mountains, the ocean, an animal. Now that we have that and it's really a rough blend, that's okay. We're going to go on top of that with our line work. I'm going to turn the wings way down. Then my sketch I can see now, and I'm going to add in the line work here. Let's grab that really dark color. The texture of this eminate is pretty fuzzy. I'm going to try using Carbon Stick and turn it, make it smaller, almost like a pen size. Let's outline what we want to outline here with that and see how that turns out. I have all the black parts outlined. I can go in and turn this opacity back up and see what I think and if I like it. Then it's really going to show me where my blending lambs and where I need to adjust that. Something you'll notice with this butterfly is that it's really light in this wing so we can keep it that way or we can adjust it. We can do whatever we want. But let's start with the Artist Crayon a lot it's really nice. Let's go in a little bit bigger. Let's start blending, like that. Let's just mess around as we go with different colors. Then let's go to our blender and just pull all these colors together. Well, that looks nice. What you'll notice as well is that there's like almost white colors that pinkish color. It's here, but I think it's lighter than that so let's grab that and then let's use our box to just make it a little bit more white. Let's use textures grunge, and we'll make it pretty small here so that we can really outline all the little boxes or places that are that whitish color. The lighter you press, the more fuzzy it's going to be, so just build it up a little bit. It doesn't have to be exactly true to where the white is in the picture, but you can just keep checking back and seeing for reference. Let's name this while we're here lines and then let's add another layer and let's call this details. We didn't have as much details with the blue morpho, but this particular butterfly, the monarch has a ton of these really cool white spots. We'll go grab that whitish, it's kind of purple color and add those in. I would say, let's try the ink bleed. Let's just see what that looks like and if we like it or not, we can always change it if we don't. That's cool, it's a cool texture. It goes with what we're doing here, and it looks very similar to the reference. Ink bleed it is, and I'm just going to go through following my reference and drawing all those little small details. Now that the first wing is done, and I like the way it looks. I'm going to go ahead and make the second wing, the back wing in the same exact way. I'm going to put a layer underneath this wing because I want it to be underneath it. I'm going to speed through this video. Now that I'm done with the back wing, I can turn on the other layers that I turned off the front wing. Now I have both of my wings put together. The last thing we need to do here is finish the body, and this guy has a fuzzy little body too so let's put the body on top. I can name that body, and it's dark so I'll grab our darkest color in our palette. I think ink bleed would work well, I think we did dry ink on the other body, so let's just see what we think about it. Yeah, he's just a little fuzzier and if you wanted it less fuzzy, you could just make the pen smaller, the smaller it is, the less fuzzy it's going to be. Maybe his head is a little less fuzzier than his body, that's fine. Maybe his legs are a little less fuzzy as well, so you can just play with that. Then there's little, what is that called? The little pollen sucker, I don't know what it's called, and his long antennas. There's her body and I think we'll keep it on ink bleed and go to our lighter color, and just add the details of all the little spots on her in this part. Just like on the wings it doesn't have to be perfect. I doubt all monarch butterflies have the same spots on their bodies, so you can just play around with this and put them where you think they look good. You could do this in another layer I did not, but it's really up to you how many layers and how much you want everything to be separate, just in case you want to change it later. Obviously, doing as many layers as possible is going to make it so that you can change things a lot easier if you go back and need to make edits. I don't know where her eye is, maybe we can just make that up a little bit. That's okay too, because this is our interpretation. We'll do it like we did the other one, and sometimes this is nice to have that bottom layer there, so that you can really see your character's eye. There is our monarch butterfly. 8. Sketching the Painted Jezebel: All right, our last butterfly is the Painted Jezebel. We're going to go ahead and open up our Painted Jezebel canvas, and we're going to start to sketch. I already pulled up a picture of a Painted Jezebel on Pinterest, and I already saved a screenshot as well. So I'm going to go ahead and insert that photo, enlarge it. That's going to be my first layer. I make another layer, name it the Sketch layer. Since I've already shown you the two ways that I would recommend sketching, I am going to go ahead and run through this sketch really quickly. 9. Coloring the Painted Jezebel: Since I've already shown you how to make a palette out of your reference photo. I went ahead and just did that to save a little bit of time. We have our painted Jezebel palette and so we are ready to color. I'm going to approach it similarly where I color one wing first. Let's go with this light, almost bluish type of color and we're going to make a new layer called the Wing. Let's use ink bleed on this. Before I was using a smoother pen, the studio pen, but she looks pretty fuzzy. Let's use ink bleed and see what we think. There we have a wing and we'll go ahead and put alpha lock on that and then we'll grab this really vibrant red color and we can use our grunge brush here to just plop in the color here. It doesn't have to really blend. The reason why it shows the painted Jezebel for the third one is that the other two butterflies really blend nicely and this one's more straight color in three different spots, so I thought it'd be fun to play around with that. I'm adding a little bit of orange to this yellow, just for a little bit more depth and you can see there's more than one color in there. We're going to leave it here and then add the line work, and then we can go back in and blend more if we need to. We can take the opacity down, add a new layer and we will name that Lines. That's where we will put these butterfly lines in on top. These are more of a mask and they'll definitely have that fuzzy texture to tune. I think a charcoal again would be pretty cool. Maybe let's touch charcoal block and let's just see what that looks like. Feel free to really experiment here with different textures and different brushes. That's what makes this really fun and a good discovery process. It's a pretty big brush, so maybe too big. Yeah, too big. Let's try something else. I did like carbon stick. Maybe let's go with 4B compressed and let's just see what that looks. It might be too light. Let's try vine. I really encourage this to be a part of your process that you're not scared to just try different brushes and see what works. See what you like because you might just end up finding your favorite brush and you didn't even know that you would like it if you stick with the same brushes all the time. Procreate's native rushes are really good. A lot of people by other brushes. I would say there's not really a need to, unless you're doing something really specific. But pretty much all the native brushes are going to have everything that you need. It is fun to buy new brushes and experiment and all that. I'm going to go ahead and speed this up since you've seen this before and then I'll meet you when I'm done with lines. Now that I have my lines and I don't really like how thick some of these lines are, the really don't match up to how thick or how thin these lines are so I've got my eraser and I've got a 6B pencil so that I solve texture as I erase. I'm going to try to remedy that with my eraser. With digital, it's really nice to be able to experiment with different brushes. That wasn't my favorite brush, but we're going to make it work. This is obviously more work to have to do, but what's cool about it is that as you erase, you get these little tiny black marks and you can keep erasing and making those smaller and smaller. But I like them because they blend the black into the rest of the butterfly. Sometimes when things aren't going your way, you can find some happy accidents and that's really cool. The more you experiment, the more you're going to run into maybe even making up your own techniques, like using your eraser for texture. I'll clean these up and I will speed through this part too. That looks better. Then the last thing I want to do is smudge this black part into the rest of the butterfly. Let's see if our charcoal will do a good job with that. Yes, that's cool. If we just push it a little bit, we're going to get this really neat effect that looks like the black is really bleeding into the color part of the butterfly wing. I'm just going to clean up the edges a little bit here so that we don't see the red coming through and then that will be a finished wing. The color part, let's look at that for a sec. Now we see where it might need some help and we can, let's use charcoal here. I can blend into this other color. This is nice to do once you have the line work, as you know are the colors should end up. The blending is nice with the charcoal because it makes them bleed into each other. That wing's done. I'm going to go ahead and do this big wing and then I'll speed up through it. Now that we're done with those two wings, let's finish up with the body, and I know you've seen me draw a couple bodies here already. I'm going to speed up right through this, I need a new layer, and I'll meet you when we have a finished painted Jezebel. Just so you know what I'm doing here, I'm just placing in brown because this is dark spots here and I know that I'm just going to smudge it around. I don't really care about how I place it because it's just going to get smudged a bit to give this body a little bit more depth.