Quick Guide To Art Fundamentals For Beginners In Procreate

1. Introduction : Have you ever felt that learning art fundamentals could help you to create better and more meaningful art, but you just don't know where to start. Hi. My name is Alexandra AKAD art water. And in this class, I'm here to make art fundamentals simple, fun, and accessible all within procreate. Whether you are a complete beginner or an experienced artist looking to refresh your foundation, this class will give you the essential skills to make your ideas come alive. I have a background in animation and illustration and years of experience of teaching art fundamentals to students of all levels. Throughout my career, I have seen the incredible transformation these basics can bring to an artist's work, whether you are drawing traditionally or digitally. There are incredible success stories of my students publishing their own children's book, and I learned illustration in my classes. So I can say with confidence. You are at the right place. So why is mastering the fundamentals so important? Because they are the building blocks of all visual art. In this class, we are going to cover the core elements of art, line, shape, form, space, color, texture, and value. And I added two bonus elements that I think are worth to talk about. And that's light and details by understanding and applying these elements. You will get the confidence to create on your own and create more mindfully and intentionally. It will help you to really show up as an artist on your journey. And that sounds like. This class is organized into ten structured lessons, each lesson representing one core element. Every lesson we start with some theory where we are going to talk about the core element. Then we will going to move into practice and practice it. Then we will have a short coffee break where I'm going to talk about some topics that every artist is facing like imposter syndrome, creative blocks, finding your own style, then we'll dive back into building one complex illustration. Throughout the whole class, step by step, walking through and applying each element into it and arrive into a final piece. Class is designed for anyone new to art fundamentals, especially if you want to learn, we then Procreate. So what you need for this class is your iPad with Procreate installed on it. By the end of this class, you will have a complete, complex illustration and a skill set that will give you a strong foundation for your artistic path. Okay, so are you ready to dive into art fundamentals with me? Let's just get started. See you in class. 2. About The Class : Welcome to the class. I'm so glad that you are here. In this video, I'm going to talk about the class structure, the class project, and the class resources. The class, as I already mentioned, has ten structured lessons. Each are about 20 or 30 minutes long. So take them in your own pace. But watch one lesson at a time. It can be every day or every two days or every week, but don't overwhelm yourself. Give time for the knowledge to sink in. It will all make sense at the end, I promise. So even if we are going just one section within the illustration, just keep it that way and try to understand the theory behind it and the thoughts that I'm going to share with you. So each lesson will start with a theory where I'm going to talk about a core element. Then we are going to have a little practice session about the element. In some lessons, it will be already connected to building the illustration. So do the practice. Then we will have the coffee break where I'm going to talk to you about some topics that every artist, regardless of their skill level are facing. For example, creative blocks, imposter syndrome, finding your own style. I will share my views on these topics, okay? And I would really love you to reflect on these topics as well. So use the discussion board below to express your opinions and ideas about these topics as well. Let's just have a discussion. It might be really beneficial for a lot of people. Then after these coffee breaks, we will have practice sessions again, in which we are step by step building a complex illustration. So we are going to take one step at a time within that lesson and have one illustration at the end. So we are going to progress really slowly, but I want to ask you to trust the process. So the topic of the class project is free. I will be illustrating a cat with a cup of coffee, and I recommend very beginners to follow me my ideas and my steps that I'm taking. You can use even my sketch that will be provided in the resources so that you feel more comfortable with applying the knowledge from the class. But more courageous and more advanced students can just, grasp the ideas of the lesson and create their own illustration, whatever that be. Okay? Now, regarding the class project, I already told you that we are going to create a complex illustration, but I would really want to have a little experiment in this class. So now I want to grab a piece of paper or your iPad and create a little illustration of whatever, let it be the cat with the cup of coffee with your skill set that you have now. If you don't want to do this, just grab a recent drawing of yours and upload it into the project gallery, and then take the class and when you are finished with the class project, with all the knowledge that you've got from this class, upload that into the class project. And we will just have a before and after. And we will have a gallery of a before and after, and I would be really happy to see that how you progress from the current state of your skill set and after taking the class. It will be really good for you as well to see how mindfully can you apply the knowledge from a class to your artwork. This will be so much fun. And also, I would really love you to share some words in your class project. So describe your experiences. Who are you? Where are you from? What is your background? So if you now start to create a class project and applaud that initial artwork, just share some words about your and your art journey. I would be really happy to read that. And when you are finished with the class, applaud the final piece and share your experiences what you had during the class so that it is really an expression of yours about the class in your class project. Regarding the class resources, you will find a brush set, a color palette, my sketch, my original file, for reference. You will also get a worksheet summarizing the theory so that you can read it through, and there will be a worksheet with journaling prompts and questions that will help you to process the topics that we will have in the coffee breaks. You can use that for your own to reflect on your ideas about these topics in your journal, intimately at home, just for yourself, or you can again share some of your thoughts in the discussion board below. All right. I think that's all. So the first step is for you to download the resources, grab your iPad, open Procreate, and see you in the first lesson. 3. Lesson 1.: Elements Of Art: Yes. Welcome to the first lesson. In this lesson, we are going to talk about the core elements of art, but in general. So this lesson will be a little bit different than the other ones, as we are going to take all the elements of art and talk about them generally in little so that you get the general idea of them and understand what we are going to go through together during the class. And in every lesson that comes up next, we will get a core element of art and dive deep into that, right. But today, we are going to talk about them generally. And we are also going to draw together. So I really want to warm a little bit up. Now, we are going to warm up our hands, and I will show you a little bit of a warm up exercise that you can really, like, do with your hands to warm up the muscles and bring back the muscle memory. And I really recommend you to do this little warm up exercise every time you sit down to draw and not just within this class. But every time you just want to create. It is really good to do a little bit of exercise for your hands. It will bring you to the present moment. It will wake up your muscle memory, and it can be a really cool ritual that will just set you into the mindset of Alright, now I'm sitting down and actually, I'm going to create. So let's just get started. Okay, so put your hands together like this. We are going to start with waking up our wrists. So create circles into one side ten times. And to the other one, as well. And be gentle. Okay, so we have our wrist. And now let's turn it inside out five times. Give it a nice stretch. Okay. Now, let's work with the fingers. Close your palm and open again, like ten times. Make sure to stretch your fingers as much as you can. And now do the sprinkle act as if you would sprinkle water with your hands. This will release any tension that you have in it. Okay. Cool. I think I'm warmed up. And now I think we are ready to start drawing. The seven core elements of art are line, shape, form, space, texture, color, and value. I added two bonus elements I think are worth to talk about, and that's light and detail. Now, throughout the next lessons, we are going to go through each of them in detail. But now let's just see generally what each element represents. We are also going to draw a little to get to know the elements, so prepare your Apple pencil as well. So let's start with line. Line is the most basic element of art. It's a mark made by a tool, for example, a pencil or brush that moves across a surface. Lines can be straight, curved, thick, thin, zig zag or dotted, and they guide the viewer's eye through a composition. Now, lines can define shapes. For example, if I close a line like this, I will get a shape, for example, a circle. We can also create textures by lines or even convey emotion. For example, boiled sharp lines can make a piece feel more aggressive while soft flowing lines can make it feel peaceful and calm. Now, I invite you to go to gallery create a new screen sized canvas, and we are going to just draw several lines to get used to these elements, right? So I will choose black as my color and the sketching pencil from the brush side that comes with the class. Creating art is self development process. I will talk about this a bit more in the coffee breaks that we are going to have. But basically, what I want from you now is to observe yourself. How are you doing things? How are you holding the pencil? Okay? So you learned a way how to hold a pencil or brush in elementary school. Now I want you to be mindful of that. How are you doing that? And at first, we are going to draw straight lines. So I'm drawing straight lines. And play with pressure sensitivity as well. And as you can see, I am fixing my wrist on the screen. If I would be drawing on a paper, I would fix it on the desk. And I am drawing, like, from my arm if I want to get a straight line. So I'm not drawing from my wrist. That's that's the movement I make when I want to do curved lines. So now it is your time, spend a few minutes. You can just stop the video right here and just draw some straight lines and see how you are doing that. And then move to curved lines, okay? And then zigzag lines. As you can see, I'm kind of positioning my head differently when I'm drawing these straight lines. This is very intuitive. I really just want to raise the awareness within you how you are doing things. Okay, cool. When you are done, with drawing several lines, I missed the dotted line because that's a line as well. And you can do a line like this. So when you are done with this, I'll just move back and talk about shape. Shapes are flat enclosed areas created by lines. They are two dimensional, meaning they have height and width, but no depth. Shapes can be geometric like circles or squares or organic like the irregular shapes found in nature. Now, shapes help to define objects and spaces within a composition. They can simplify complex images and convey symbolic meanings. For example, with shape language, we are using shape language a lot in character design. We are going to talk about that a bit later. But let's just now go back do this little canvas, and I will just turn off the layer of these lines and create a new one for the shapes. So let's just draw a circle. Again, be mindful of what are you doing and why are you doing it like that. So are you starting to draw a circle from the top or the bottom or the side? Is it distorted? Can you draw a perfect circle right away? I can't, but I will show you a technique how to get it right later. And now let's draw a square. Again, see where you are drawing the lines. Why are you drawing it like that? Where is your hand? Oh, let's draw a triangle, as well. And then let's draw an organic shape. Okay, cool. Now, let's go back and talk about form. Form refers to a three dimensional object with volume, something that has height, width and depth. It is essentially a shape with added dimension. So we created shapes with lines, and when we add shading, we create forms. Forms can make a drawing or painting feel more realistic. Shading and lighting and perspective techniques are often used to create the illusion of form. Now, let's go back to these shapes that we have just drawn. I'm sure that you learned shading in elementary school, and I don't want anything special from you just randomly shade these objects like our shapes, you don't really need to be precise or anything. This is just to bring out what you already know. So be mindful of what you are doing and how you are doing it. If you are tilting an Apple pencil, you will g a shading tool, but you can shade with lines as well. So you don't really need to smudge things, but just place some shadows onto, for example, the circle at first. Um, Like this, and I will add some drop shadow. Now, this is a first trick to add space, the illusion of space to your art if you add the drop shadow. Now, there is a square. I'll just make it a cube really quickly. And how I shade it, I will just put a shadow to one side to the top and again, add a bit of a drop shadow. Oops. Also with the triangle. You are going to learn how to shade these things later, okay? But now just be mindful of how you do stuff, right? And also, the organic shape, I will just add some shading here and there. For example, here as well, pretty randomly, okay? And I want you to remember these drawings that you are creating now and we are going to compare them to the end of this course where you have progressed, and you will be amazed, right? So now we have several shapes like randomly shaded. And this will be a really good reference where you started this class, okay? So cool. Alright, let's move on to space. Space refers to the area around between or within objects. So it can be a positive space. So actually, the area that is filled by an object or a negative space and so the empty areas around it. Space is crucial for creating a sense of depth and perspective. You can manipulate space to make a composition feel open and expensive or crammed and intimate. So for example, just take a look at these few lines, you immediately see that there is a road going somewhere, and there are just one, two, three, four lines, actually, one vertical, two diagonal and one disrupted line. So you can do so much with so little. You just need to know how to do these things. Ok? So let's just go back. To this initial thing. I'll create another layer, and now we are going to play a little bit with the placement of objects. I will just draw two circles. And I want you to tell me which one is further. Yes, this one. So, things that are closer to us on to the surface will be bigger, okay? And further away things will be just simply smaller and placed above the horizon line that we actually don't even have it, but we already fill that space within, right? What if I just place it here. Now, these are two differently sized objects next to each other, right? So this is perspective, and this is the illusion of space that we are also going to learn in one of the lessons. Alright. Now I think we should take a coffee break. We already gone through four core elements of art, and let's just have a minute of artists talk. Welcome to the 1 minute coffee break, and it is not going to be actually 1 minute. It will be sometimes a little bit longer. But in these little parts, I just want to talk to you about some topics that we are all facing. And today's topic is that anyone can do. Art. I'm sure that you said yourself or you heard someone to say that I can't draw. I don't have talent. I can only draw a Stickman. And my problem with this is that drawing and painting and doing visual arts is just a skill as other skills, okay? So it can be learned. There's nothing supernatural that you have to have within you. To be able to draw or paint. And actually, you have that within yourself because it is the creation force. Just think about kids. They love to draw and paint. It is totally natural for them, right? They are expressing themselves through art. And you have that naturally within yourself. And our soul craves creation, and it always finds a way out. Some people are doing pottery or writing programming codes. Okay? So creativity is a natural part of our, being or existence. So you don't need anything special. You can't just learn it. It is sometimes easier for some people who are gifted and requires more effort from other people. But if you crave it, you can totally go for it, okay? So my point in this part is that you don't need anyone's permission to do art. You only need your permission. Allow yourself to do art. And I know that there is some level of elitism within visual arts, but I want you to think about it like this. You don't need to be an athlete or go for the Olympic games to enjoy running, right? Within your art journey, you don't necessarily have to have the goal to end up in Lure or have big exhibitions. You can just do it for fun because you can. Okay? Okay, so I want you to give yourself now permission, and let's continue. Alright, so now that you know that you can do it, let's move on to the next core element texture. Now, for a long time, I didn't even understand what texture is, but let me just tell you, texture refers to the way a surface feels or appears to feel. It can be an actual texture, how something physically feels like rough or smooth or implied texture, how something looks like it feels in a drawing or painting. Texture adds interest and depth. You can make something feel more tactile, even in a two dimensional drawing. Now, procreate comes with lots of textures in traditional media. Usually, the material that we are painting on, for example, watercolor paper or canvas already adds texture to the piece. In digital, we don't have that. This is why we really need to add texture to the artworks. But basically, we can create textures with lines. I will create another layer and just let me show you. So if I draw lots of short lines like this. Let's imagine this is a cat or some kind of an animal or just I don't know, something. This might imply that this is fur, right? So we can create this feel of textures with simple lines as well. Or, for example, the way I'm drawing wood is that I'm creating a shape, and I'm drawing in with lines, some things like this. Random lines. And it will feel like wood. So there are so many things. Actually, while you are going to work on your artworks and progress in your artistic journey, you will discover your own ways of creating different feels to your artworks. Alright. So that's texture, and let's now move on to color. So color is the element of art that's produced when light reflects off an object. It has three properties, Hue, it is the name of the color value, it is the lightness or darkness and saturation. It is brightness or dullness. Color can evoke emotions, create a focal point, or establish a mood or atmosphere. The color wheel helps artists understand relationships between colors like complimentary or analogous colors, and we are not going to now create an color palette. But let me just show you what you have within Procreate. So if you go to the classic view of the color wheel or the colors, you will see three toggles here. And these three toggles represent the three properties of color. So the first one is hue. So hue is red, orange, yellow, green, blue, purple, pink. And then let me choose the color. Yeah, can you see that this dropped? So this is the saturation, this horizonal axis, how dull or how saturated a color is. So this axis. And the last one is value, and this is the vertical axis, how dark and how light a color is. When you choose any color on the color wheel and if it is paint, even if it is paint like real paint, it will have these properties. It will have a hue, it will have a saturation, and it will have value. Now we already arrived to the value, and this is the last core element of art. So value is the lightness or darkness of a color. It helps artists to create contrast, depth, and sense of form. By playing with value, you can make certain parts of your composition pop, create a focal point or guide the viewer's eye, and it is very important to have your values right within an artwork because your eye reads this information from artworks. Okay? And an artwork will be pleasant for an eye if it is readable. So if an eye can read the image, and if it blends together, you will not recognize things on the drawing, right. So if you have contrasts in your artwork, so different values, the image will be readable for everyone, and it will be remembered by the viewer, okay? As you can see, I've chosen three colors here, and these are the exact values of this color. Okay, so let's move to the two bonus elements included here, and the first one is light. And I'm not thinking about light. In this case, like when it is with shading, you know that you have an object and you add shadow and reflections and light, et cetera, and you render the object. I mean now the environmental light. So it can be a light source. It can be the sun like a window, a natural light, or it can be artificial light or a magical light that illuminates the object and creates atmosphere. Lighting art refers to how lighting is used to enhance the illusion of depth and form. It plays a key role in defining how objects are perceived and can dramatically change a composition's mood. By understanding how light interacts with objects you can better represent realism, mood and atmosphere in your work. Also, for example, little reflections can bring life to ice. Key light can create this magical mood. But we are going to talk about all that later. And now let's talk about detail. Now, this is this wooden picture that I already showed you. Detail refers to the amount of information or intricacy present in a drawing. More detail can bring an image to life, while less detail can leave room for interpretation and abstraction. Deciding where to add or subtract detail helps to guide the viewer's eye and can bring focus to certain areas of your piece. Now, the level of detail defines actually your illustration or artistic style and voice, how much effort you are putting into something or into things in general. The level of detail could be improved here with more shading, more precise shading. It could be adding more textures, wooden textures or smaller details, et cetera, which would bring me closer to realism, but do I want realism? I want you to know that this is wood. And this level of detail will greatly influence what kind of voice you have as an artist. And you don't need to be a realistic artist, okay? So I just want to point out that that less detail is not a bad thing. Okay. So these are the elements of art. I hope that I brought some Huika moments to you right now. These are going to be our tools during this class, and then in the future, as well to create beautiful art pieces. By practicing and mastering these elements, you'll gain a deeper understanding of how to create balanced, dynamic and engaging artworks. And as you move forward in this course, keep these elements in mind with each exercise you complete. And again, we are going to go through each of the elements individually, talk about them in more depth and build up an illustration by going through all of them. So I'm so excited about this. See you in the first lesson where we are going to talk about line. 4. Lesson 2.: Line : Hello, and welcome to today's lesson. In the last lesson, we explored all elements of art, and now we are going to dive deep into the first element line. Ine is one of the most fundamental elements of art. It is created when a point moves across a surface, leaving a visible path. Lines are used in every form of art from drawing and painting to sculpture and architecture, and they can be simple or complex. While often thought of as two dimensional, lines can also suggest free dimensional forms or motion within a composition. Now, let's talk about the types of lines. So there are straight lines. These can be vertical, horizonal or diagonal. Vertical lines often imply strength and stability, while horizontal lines can suggest rest or tranquility. Diagonal lines, however, introduce a sense of movement or tension. Then there are curved lines. Soft and flowing curved lines are often used to create a sense of grace, fluidity, or rhythm. They can be organic reflecting forms found in nature. Then there are zigzag lines. These sharp jagged lines introduce energy, chaos, or excitement to a piece. They often feel dynamic and unpredictable. Then there are broken lines and dotted lines. Lines may imply a form without fully drawing it, allowing the viewer to complete the shape mentally. This adds a sense of openness or mystery to composition, and there are implied lines. Sometimes a line isn't physically drawn, but our eyes follow a path created by elements like color shifts, shapes or the alignment of objects. For example, here, just take a look at these waves. They follow these curved lines which adds dynamism to the piece. But they are not exactly concretely down. Okay? And also, of course, we use lines for sketching and clean line work. In Procreate, we have several tools that help us to draw lines. So let me just turn this off and show you these tools. So the first tool is the quick shape tool. When you are holding down a line, it will straighten the line. Can you see that? If I'm drawing a line like this and hold down, it again, straightens it. If I draw something like this, it will straighten it. Let me see if I do this. It does something weird. But you can experiment how your lines are affected with this quick shape tool. It is really nice when you are drawing straight lines. I really love to use that. Then the second tool is the Canvas guide. If you go to the Ringe button and hit Canvas and turn on drawing guide and edit drawing guide, I just make it a different color so that you can see it. Yeah, you can see it. So if you turn this on, this will help you to create compositions and draw different lines so you will know that, for example, you want this and this, for example, if you want a diagonal line like this, so it will really help you. You can edit this drawing guide. There are several types of guides you can call out, okay? You can have isometric. These are these ones. So this really helps when you want to draw something in space. And then there is perspective, which really helps you with one point and two point perspective. We will get there. And we also have the symmetric tool, which means that when you have that turned on, what you draw on one side, it will, like, mirror it to the other. This is really great if you want to draw, like really neat line work for different purposes. And the third tool is stabilization within a brush. So if you go to any brush in the brush library and choose it, you will have a setting of stabilization here. You can add streamline, which means, let me just clean this that if you don't have streamline, the brush will pick up every movement that you make with your hand. But if you add stabilization, like, for example, this much. Then it will smoothen out your lines. And it is really helpful if you are not really steady with your hand. You don't have this with traditional media, right? So, um, if you're drawing with a pencil, you need to mainly fix your hand to be able to draw study lines. But fortunately, in digital, we can do that. So yeah, so this is streamline and also stabilization. There are motion filtering as well. So as you can see how it affects lines, if you add it to Max, it will completely disregard your lines, curves. And yeah, it's expression. So you can play around with this and actually find the settings that work for you, okay, because everyone's hand and muscle muscles work differently. We are differently used to things. Take some time to play with these settings and create brushes or adjust brushes within Procreate to adjust your needs. On your tools. All right. So let's just do some exercises. We already drawn some lines and basic geometric shapes, and let's just start sketching. Let me introduce you to sketching. Let's go to gallery create a new screen size canvas, or you can go back to this one and just turn off the layer and create a new one, choose black and choose the sketching pencil in the brush set. Also, if you go to the sketching brushes, you will find so many amazing brushes that come with procrete. For example, the 60 pencil is my favorite or go with the brush that I just mentioned, the sketching pencil. When you are sketching, you need to use your observational skills, mainly if you are doing actually observational drawing. You have a reference, either it is an image or a real object, you need to look at the object and copy those lines somehow. Or if you are drawing something from yourself, you actually have a mental image of what you want to draw, right? So sketching is very deeply connected to observational skills, and we are going to practice that. So what I want from you now is to draw a square you can now try out the quick shape function of Procreate. Draw a square. I'm going to duplicate it. And put this next to my square. I have snapping turned on here. This means that I will have these guidelines where to put my objects. As you can see, this is not a perfect square and it doesn't really matter because we need to observe and nothing is ever perfect, right? I want you to draw some lines and shapes into the first square, and you can do it as I do or you can just do it on your own. I will just draw one here, I will draw circle here. I will draw a triangle here and another line. And your job now is to copy this exact thing here, okay? So when you are observing, you need to think of proportions like approximately where this line starts. It starts approximately here. And where it ends, it approximately ends here. Now, just observe also yourself. What are you paying attention to? Take a look at how I'm drawing lines. I will draw lots of short lines to get the forms right. So I want to have this curve similar to this one, and I am constantly looking here and back here and back. How is it going like this? This is going to be very messy first, but I can create another layer over and then create a crelene linework. Now, our goal is to draw the exact same shapes and lines here. Okay. Approximately the same. Okay. Now, again, with this circle, look at it. Shape. It is not a perfect circle, I'm looking at the circle drawing those short lines, place it here, and then I will continue with this line. Again, I will find the place where it starts and where it ends. And again, looking at it and with lots of short lines, I trying to find the perfect curve. Okay, it doesn't need to be perfect, but a similar curve, okay? I'll just erase from it because it is getting a bit messy. Okay, I don't like that. Um, so this is what sketching is about observing images. And you can do this exercise. Many times, it will develop your observational skills. This is why in art schools, they tell you to do observational drawing. Okay, it is not that perfect, but let's say that is okay. Maybe? No, I don't like it this part. So I will go from this side now and try to catch that curve. I'm erasing from it. Okay, way better. Every time you think you are not able to draw something, do some observational practice like this one. It will be really handy and it will just train your eye and muscles and hind to actually pay attention and follow what your eye sees so that your hand follows what your eye sees. Okay, this is not I need to get this shape right. And like this. Okay. That's pretty cool. Not 100% perfect, but I think you got the idea. You need to pay attention, look, measure approximately. It is always good to just randomly put things where you see they are there and then adjust them. So you are always free to erase, to start over. Don't think that you cannot make mistakes. You can. Always. We always learn from mistakes, right? So now we had our little exercise. Now, let's just have a little coffee break. I think it was a lot of information. Hey, in today's coffee break, we are going to talk about that art is communication. I believe that everything around us is the reflection of our inner world. So if we are thinking about our art, the way we hold the pencil, the choices we make during the creation process, the effort we put into an art piece all represents our current state of being and communicates it. Carl Young, the Swiss psychiatrist and psychoanalysts, made significant contributions to understanding the subconscious mind. And how art can serve a bridge to it. By expressing ourselves through art, we are communicating our thoughts or feelings, and again, our current state of being, even on a subconscious level. And then if we think about it like that, the whole creation process becomes a self development, self exploration, and self reflection journey. But what does this mean? This means that you cannot do anything wrong, okay? There's not a right way to do art. It is your way of doing art, okay? This is your expression. It is your current state of being. Even when you are following an art tutorial and doing something step by step, you are holding the pencil. You are doing your own choices. You are a being in that moment when you are doing that, okay? And during every creation process, if you become a little bit more mindful of why you are doing something, where you are making some choices, and remember that this is my current state of being. I'm communicating myself onto the piece of canvas or screen. You are exploring yourself. And you will get better in your art when you start to know yourself better in the creation process. So can you see the correlation? This is your journey, your act of art and your expression. So there's absolutely no sense in comparing your state of being to someone else's. And this is so powerful. It gives you the power. You are the creator. This is your journey. So on your art journey. Okay, so this was fun, right? Now, let's do another exercise with lines and shapes, and I will just again turn of this layer and the other one and create a new one. Let's make our imagination run wild now. I want you to draw six blobs. Meaning, I will just do this random organic blob with lines. One, two, three, four, five, six. And our first task will be to lower the opacity of this layer so that you can still see the blombs, create another layer over and choose a color. Let me have some light blue, and we are going to look for basic geometric shapes in them. Look for circles, triangles, and squares. Now, this will help you, again, with your observational skills and to see structures within organic forms. This will help you with drawing every time because drawing these basic geometric shapes is just easy, right? And they can be starting points, just as we did with the previous exercise to have some references where to draw something. What shape should it kind of follow, et cetera. It will really help you with complex drawings later. So I will start with the first one. I can see a circle here. Again, you don't need to have perfect shapes. But let me just show you what I just did. So I draw an ellipse and this menu popped up here. I will click on this one, and you can just change it to a circle. Let will just place it here. Okay. I can see another circle here and another circle here. They can cross, okay, these shapes. Um this is more like a square for me than a circle or not square, but rectangle, yeah. So this is a structure composition. Okay. In the second one, mm, I can see a triangle here. I can see another circle here. Here is another triangle. Here is another circle. Here is another circle, and here is another circle. Okay. Next one. This is a big circle, but I can see a big rectangle here. This can be a triangle approximately. And this is again a rectangle, let's say, a little square. Next one. I can see a circle. I can see kind of a triangle here. Another circle, another circle, and let's connect it with a square. Next one. Here is a circle. Here is a triangle. I would say this is a triangle, as well. Kind of like this. Circle. This is a rectangle, and this is a circle and let's say this is a rectangle. I have some basic geometric shape structures. What is going to be fun is to lower the opacity of this layer, but keep them like you can see them, create another layer on top. I will choose now black and let's see something in it. I will just show you something. In here. I did this exercise on my own. So here are the blobs I've drawn. Here are the structures. And when I wanted to see a cat in them, I've seen a cat. Okay? And when I want to see a frog in them, I can see a frog. So it is really up to you what you are looking for, okay? That comes from within. And let's just get back to our blobs now. And let's just see a cat, okay? So in this class, we are going to illustrate a cat, let's just see a cat. We don't necessarily need to create an illustration from these drawings that we are going to create. So don't put pressure on yourself. Just let your imagination run. So in this first one, how can I see a cat? Let's just think about what a cat has. So he has a head which is kind of an a circle, then ears, a body and a tail. So let's just look for these. I think here is a face. I can also add little notions that what I'm actually doing, I can totally add years. Okay? I can see his body here. Okay. What are these? Let's say. Hens? Is hens. Paws like this. Raise from the strong cat. It looks like that. Okay. Like this. It will make it a smaller so that it's not that bulky. And yeah, maybe he's carrying something. Ball. I don't know. I don't add the legs, but I can just work with that if I want, but let's just continue now. I can see a head here. I will again add the eyes so that we know what we do. As you can see here is a triangle. We can use this triangle as a negative space. Okay? So I can add years here. And if they don't look good, you can just adjust you are the creator. I can see his little body like this. And maybe he has his tail like this, asleep. And what is this? I don't actually need to add that. That can be a negative space as well as we already said. Space can be negative, so keep that in mind. Next one, where do I see a cat head? Here is a circle. That can be the head. I will add the ears and the face. I need to add the body. He can have the hands like this the paws. Here is his body like this and maybe this is the tail. He is just lying like this. Okay. Next, here is the face. Where is the head? Guess see the body here again. And the tail as well. And maybe the pow polls here. Oh, slipping like this, so cute. Maybe he has his ball that he played with here. Okay, this is going to be simple. Oops. These are just ears. This is a portrait. And this is, again, for me, obvious already. So here is the face. Here is the body. I will now add legs as well, and here is the tail. Okay. And if I want to look for another topic, for example, a frog or a dog or a bird, I can see and find those things within these constructions. This is a really good practice for creativity and to just start your imagination. So when you have this procrastination and impostor syndrome and stuff like that, and you are just having this creative block in front of a canvas and don't know what to draw. Just start with this. This is so good. This just starts your imagination and creativity flowing and takes away the pressure because most of the time the pressure is what stops you from doing great things. So, this was the exercise for today. In the next lesson, we will explore shapes and jump into the deep water and actually start an illustration of a cat. So see you in the next lesson. M 5. Lesson 3.: Shape : All right, so welcome to today's lesson. In the last one, we explored what lines are, and today we are going to dive deep into shapes. Now, shapes are enclosed two dimensional areas created by lines, edges or color boundaries. A shape is defined by its height and width, but unlike forms, it lacks depth. Artists use shapes to establish structure, define objects and create patterns within a composition. Now, there are several types of shapes. The first one is geometric shapes, right? I'm sure you know this. These are precise mathematical shapes like circles, squares, triangles, rectangles, and polygons. They are often symmetrical and rigid, evoking a sense of order and stability. Geometric shapes are commonly found in man made objects and architectural designs. When illustrating, you don't need to be mathematically completely precise with geometric shapes, okay? That would be necessary in technical drawing or architectural design, you know, where you really need to be like a surgeon. But in illustration, you are totally free. So don't stress over geometric shapes, okay? So I'm going to just draw a circle, and then you can see that we already talked about if I hold down the shape, this menu pops out for me and procreate. So I click here and I hit circle and IG circle. What I use manually when I am doing traditional media. I just grab, I don't know, a mug and draw around it. Like, you don't need some extra tools, to be precise, you can use a ruler even, but we can also create a square like this and also if you draw a square like this and hold down, this menu pops out polyline and you can create a rectangle or a square from it. So yeah, we have squares, polygons. That means that there are several sides to that shape, and we have also triangles. We are going to work with these three shapes in the next exercise. So if you want to take a minute to just revisit how you are drawing these shapes, you can just do so. Also, we have organic shapes. These are three form, asymmetrical and often found in nature. They tend to have more flowing irregular edges, such as the shape of a leaf or a cloud. Let me just draw shape of a leaf. This is organic and a cloud. Organic shapes are more unpredictable and can bring a sense of life and movement to your artwork. Now, what is the role of shapes in art? Shapes are often the easiest ways to break down a complex image into simpler parts. As we did in the last lesson, there are these complex shapes. They can be totally random. But, for example, you want to draw a building or a scene. Or an animal, you need to break down its complex form into basic geometric shapes, and it will be so much easier to draw the subject. Artists often start with basic shapes when sketching a subject before refining it into more detailed forms. The interplay of shapes can also create harmony, contrast or balance in a composition. Abstract art often relies heavily on the use of shapes to convey ideas or emotions without the need for realistic representation. When it comes to shapes, it is really important to mention shape language. As we are talking about illustration, character design is an essential part of creating like illustrations, the main characters of our stories that we try to tell with our illustrations, because illustrations are about stories. Shape language and character design refers to the use of specific shapes to convey a character's personality, emotions, and traits by manipulating the basic shapes, circles, squares and triangles, artists can visually communicate ideas about the character's nature in a way that viewers instinctively understand. So each shape carries its own set of associations and emotional cues that resonate with the viewer, allowing the designer to subtly influence how a character is perceived. So for example, let's talk about circles. Circles are soft, friendly and approachable. Circles and curved lines and rounded shapes are often associated with softness, safety, and friendliness. They have no sharp edges, making them feel warm, inviting and non threatening. So it can symbolize a character who is friendly. Harmless and naive. Squares, however, are stable, strong and reliable. Squares and rectangular shapes suggestbility, strength, and groundedness. These shapes feel solid and dependable due today's straight lines and structured nature. They often evoke feelings of power, durability and trustworthiness. Characters like warriors and protectors are often designed with square bodies and features to emphasize their reliability and resilience. And also authority figures like leaders, deaths, and superheroes. Let's talk about triangles. Triangles are dynamic, aggressive and dangerous. So triangles and angular shapes so that have these edges convey a sense of energy, sharpness, predictability, and these pointed edges suggest danger, aggression, and tension. Triangles can make characters feel dangerous. So for example, villainous characters and antagonists in stories often incorporate sharp angular shapes to signal their danger and male. In short, this is what I wanted to tell you about shape language. So taking this all in consideration, we are going to start the illustration of our cat. Okay? So the theme of this class is going to be to illustrate a cat. So what I want from you now is to go to gallery and go back to your cat. This is the time when you need to decide what kind of a cat you will have as a character in your illustration. Will he be like a nice cat or a villain cat? You know, we already worked with shapes in the previous lesson. I will turn these all off and create another layer, choose my black, and choose this catching pencil. So I want you to think now about this character. And actually the body parts a cat has, and you actually don't need to draw all the body parts of a cat, and we don't really need to overdo it as this is like a beginner class and art fundamentals, okay? So I don't want anything hard from you. So I want you to think about the body parts. So let's just have three of them, okay? So we will have the head. You will have the body, and we will have the tail. So these three will have the focus and the ears and the legs will be just a side thing, okay? So think about the head shape, the body shape, and the tail, and I want you to spend a little time on combining basic geometric shapes to see how would that combination look like. So for example, I can have a circular head, but what came up to my mind is that I want to have a bit more rectangular shape as a head for the cat. To convey this emotion of stability, let's say. It is also good to create a mind map about your character design, but I don't want to go into character design that deeply. Let's just focus on art fundamentals. So draw some ice. I'll just note them very quickly. Use a nose. And let's add the ears. They're not that in focus, so I am not creating ears like this, but a bit more rounded. Can you see that even though it has, like, an edge at the top, this is going to be rounded. So I want to convey the emotion that this cat is nice, okay? I want to keep this roundness in the body shape. So kind of he will have this kind of body and a tail. Really nice. I want you, by the end of this practice to have this kind of a rough sketch of a cat. Just think about the head shape again, okay? The body That can have a triangular base shape that can have a tail and somehow have the ears. You can just note the eyes, the face, and stuff like that. Okay? So take your time. You can just draw similarly as I am or just come up with your own solution. All right. After you have this sketch, see you in the 1 minute coffee break and let's talk about some creative stuff. They will find out. They will know that the way I'm drawing a tree was inspired by my kindergarten friend, and she did it this way. And now I am an imposer because I'm copying her still after 30 years. Sounds familiar. Welcome to the Imposter Syndrome. The Imposter syndrome relates to actually you owning your art journey and connects to the line between inspiration and copying. And drawing this line lies in confidence. It is totally okay to integrate things you like to your work. Like colors, color combinations, line work usage, compositions, different topics, things you like in others' work. You can get inspired by your environment and also nature and integrate things from there, like textures or, again, colors. All artists do this. This is called getting Inspiration. The other edge is copying, okay? Copying is not okay if you are not referencing it. You can learn so much from copying someone else's work. This is what sometimes people do like copying great masters, the work of great masters, right? Vangg or something. You can learn technique, you can learn or see how different colors look together, how to mix those paints, et cetera. They're doing that at school. But they are like referencing. I copied this work to learn. And that's totally okay. Doing this and then calling that your work is not okay. But why would you do that? If you are confident in your journey, you will not do that. So we came to a very important point here. You need your confidence. Confidence lets us embrace others' work while transforming it to something that reflects our unique vision. The Imposter syndrome also comes from the feeling that we are not competent enough we don't know what we are doing. We are not good enough. We are comparing our journey to others. You can basically overcome the impostor syndrome by being accountable and confident in your way of doing things. You need to trust that your unique ison, your scraps you are getting from the world, and let it be nature or someone else's work or something you come up with yourself. The whole combination is still you and you are still doing it. That's you who liked those things and put them together, okay? So you are not an imposor. You will not be voted out. All right, so now that you know that you are the creator and not an impostor, let's continue with our sketch. Okay? I will lower the opacity of this sketch and create another layer below the sketch. I will just spend some time refining the sketch and I will actually add props. So let's just talk about character design a bit more. So if you want to add a personality to the character you are creating, adding accessories to the sketch or the drawing will help you a lot. So I want this cat to drink coffee. Okay? And I want this cat to be like a smart, reliable dead cat, I will just return back for a second here to this drawing. And I will add a coffee mug, a giant coffee mug here. And add these paws or heads of the cat to it. I will just in a second, refine this catch and I don't need to overdo it. Here will be a coffee mug. I'm in my new layer. And what I'm going to do is to follow this base sketch as a guide and basically draw a clean line art over it. So it is refining the sketch. It is making sure I have everything in place. As you can see, I'm using lots of short lines to get the shape. And I don't like this part, so I can refine as I go and do adjustments to the sketch like this. I have the giant eyes and maybe try to add some reflections to it or make it a bit funny. So the cat will look at the coffee mug and have a bit of clumsiness or funky feeling. I will need to adjust those eyes in a second, but I will add whiskers, as well. Like this. Mmm. Something's not okay with the eyes. I will spend a bit of a time refining the Okay. Looks nice. I will add the ears. A little bit, it looks like a rabbit. I will create smaller ears. Like this. Okay. Cool. And let's move to the body. Now what came to my mind is proportions. So I think that the body is too big for the mug. I want to create contrast. I will add the mug right here. This is going to be the mug of the coffee. We can have something written on the coffee, like good morning or something like that. Oops. All right. And I will make the body small. And a bit triangular maybe like this. Let me see how that works. I will add de paws like this. Let me turn off. This one. Okay. I'm not sure. I will try to round this shape a bit more. I want a giant coffee mug, so I will select this coffee mug. And free finger swipe, cut and paste, and I will make it big. Like this big. And go to the layer of the body and select the body and make it small. Smaller. Like this. I can erase from it. A bit. Like this. I go to the coffee mug and adjust it erase the paw, paw, one other paw. Like this. You can hold it. I'll erase a bit from this, um, steam. This is a bit annoying. And I will adjust the ice as well. So I will put these two on the same layer so that I can adjust the ice. W. I will actually add some glasses on top. So one circle, another circle, make it bigger and connect Walla I have a nice little cat holding a giant cup of coffee, maybe. And what about the legs? I will I can adjust and add some pause here. You can add some pose like as if he was sitting. That would be nice. So, for example, like this, Or you can just leave them out as it is. Or you can make the coffee mug even bigger and just hide the cat behind it. If you are not sure, um, how to proceed. And I can even I don't know. Erase the tail and just paste another one. Like this behind the coffee mug, and it can be a giant plate that they are sitting on for example. Okay. Looks nice. Alright. So you just experienced my flow state where I'm just randomly coming up with ideas. Let me just do a little recap on what you need to do by the end of this lesson. So come up with the free shapes for the free main body parts of the cat. So the head, the body and the tail, create a composition of these geometric shapes, create a cat from it. Random rough sketch of a cat. Then add some character design. Props into it. So some axe accessories or something that the cat is doing. So it can be a book. It can be a coffee mug. It can be whatever. Because when we are illustrating, we are illustrating stories, something is happening on those illustrations, right? So it is worse to add some things because that will tell the story. So think about something and add it. And if you This is a really good trick if you don't know how to finish a cat. So if you don't know how to add the legs below, cover it with an object. So now I have this coffee mug. I've covered the lower body of the cat, but you can still see that it is somehow that body shaped there. And, yeah, this is going to be so much fun. You can spend time on refining the sketch. I'm somehow not really satisfied with these ice, but I will work on them later or I can work on them later, right? I'm not an imposter. This is my artwork. I'm the creator. You are the creator. So you can you are a director of the creative process. So get your courage, finish up a sketch and proceed to the next lesson when you are somehow ready. If you don't feel the the creative energies and you just cannot come up with a sketch. You will just grab the sketch from the resources and continue to the next lesson and work with me through the class. And after you are done with the fold process and you know that you can do it, you can just rewatch the whole and then come up with your own stuff. This is so cool. Alright, so see you in the next lesson where we are going to talk about form. 6. Lesson 4.: Form: Welcome. In this lesson, we are going to talk about form. Now, form refers to a shape that has three dimensions, height width and depth. Forms exist in the real world and have volume, as opposed to flat two dimensional shapes. In two dimensional art form is often implied through techniques like shading, perspective, and highlights, which give the illusion of depth. There are several types of forms just like we had with shapes. So for example, there are geometric forms. These are three dimensional equivalents of geometric shapes. So for example, we had circles. They are spheres as a form. We had a Square, it is a cube when it comes to its form. Then there are organic forms like organic shapes, organic forms are more natural and irregular. For example, the human body, trees, animals, and other natural objects, all have organic forms that are often asymmetrical or fluid. We are going to actually explore shading when we are talking about forms. And I want to differentiate between two types of surfaces when it comes to shading, and that is shading round objects and shading objects with edges. Okay? There is a difference with the approach of shading. So let me just choose a color I would choose this pink from this little shading. As you can see, here is this mug, and it is around objects. Can you tell me how is it shaded? Well, it is a smooth gradation. This means that this shadow is smoothly going from one color to another. And this creates the illusion that the object that is there is rounded. Okay? It is rounded. It is not flat. It is rounded. So this shadow, like, dissolves as the object come closer to you. We are going to do this in a second. When it comes to objects with edges, for example, this is kind of a gradation, but can you see it here? So this is a flat surface with shadow in it, and the object or the surface next to it is on a completely different level. Of lightness. So it is not smoothly going from this dark part to this lighter part, but there is a cut. I like to call it like it is levels of shading. So when we are shading a sphere, it will have smooth gradation. And when we are shading an object with edges, there we have levels of shading. Yeah. So I will do this on this worksheet. I have a new layer. I choose this pink. You can do this with me to try this out, okay? I have a new layer. I will choose the clean shaper and create a sphere. I will draw circle, fill it with color. I have some pixels left out at this side. I will erase here. This circle doesn't need to be perfect, okay? All right. Now I will Ifa lock this shape and choose a darker version of this color. I will choose the shader brush, and basically, I will decide that the light is coming from this side, you need to think about the light source, where is it coming from where it hits the object. And on the opposite side, you will have the shadow. I'm going to just add shading to the sphere. This is smooth gradation. It is going smoothly from this lighter color to this darker one at the side. As you can see, I left out a little bit here. This is because of the reflection of the surface that I will just talk to you about a bit later. I will choose a bit darker color and darken it at this part even more. I will grab a lighter color. To create a bit of a highlight at the top. And voila, we have a three dimensional object. So I started out as a circle with a line, filled with color, it was a shape, and when I add shadows, it becomes a form. The reason why they tell you in arts course to learn to shade geometrical shapes is because so that you know how light works on different surfaces. So as we are in a beginner course, I would love you to now just remember that when shading round objects, it smoothly goes from light to dark. And when you have edges, there's levels of darkness alightenss. What is also very important, I will create a layer below our drop shadows. I love drop shadows because they really add the feeling of space. And we are going to talk about space a little bit later. But now let's just choose this black, and I will just add a bit of a drop shadow below this sphere, and it immediately looks like that it is on something. Just check it out. It is like kind of floating in the air, and I just place it back and boom it is on a surface. So this is what you can do. Let me just quickly create a cube. Okay. So I will choose the clean shaper, quickly create ops, square. We'll close the shape, fill it in. And actually, I will create another layer to create the sides of it. I really don't want to go into three dimensional art. Adding shadows to two dimensional shapes will render kind of your image, and it is just enough, you know. All right. Um, Oops. Not a perfect one, but I don't want to waste time on this. I will choose a darker color, Alpha lock this and hoops, use the shader and darken this part very much and just a little bit of this top. And as you can see, at this edge, if I leave it this smooth shadow, it looks like as if it was rounded. But if I create a very harsh edge. You can see that it got sharper, right? So this is the trick of shading rounded surfaces or edges. Okay? So I be some shading to the front as well so that it is a bit textured. We look better. But I am cool. So this is what you need to remember. And now let's go to practice and talk a little bit about our cat. Okay, so in the first part of this lesson, we are going to just fill in the shapes, okay, on different layers. Filling in shapes on different layers will help you with the shading part, okay? So, choose a color for your cat. For some reason, I thought that this cat would be like indigo blue. It is just in my hat, so we are going to talk about color a bit later, and we can adjust colors later as well. So now, don't really focus on the color that you are actually choosing, but make sure that you are choosing a color, and I will show you how to work with color. Okay? So I will choose a bit like this. And let's start creating a palette. So I will just go to palette, create a new palette, and add that color there. The way I start illustrating every piece is that I lower the opacity of this sketch, create another layer below it. And choose the clean shape or brush from the brush set and actually start just fill the shapes. So what I'm going to do is to divide this sketch into the shapes that I actually created before and just fill them in. I will speed this process up. Take your time to fill in the shapes, okay? So I will start with the head. Okay. Then let's add the neck. Or, actually, you can add kind of the base shape of this body. Maybe it will help. All right. Let's add the ears. I will add detail. And layer on top and choose another color for a mug, I will choose the light beach and actually turn the background color down to a darker gray so that I can see what I'm drawing here, okay? And another layer below it all. Okay, and also decide what you are going to have in this cup. I will have coffee, so I will choose dark brown and just fill the cup in on a separate layer. I will also add the hands on top. Like this. And yeah, I have all my shapes filled in. Now let's see what layers I have. I have a layer for the plate. I have a layer for the tail, the body, where I just continue this hand here so that it doesn't have a floating head, you know, somehow connected to the body. The ears, the head, the coffee, the mug, and yeah, these hands. So yeah, let's just go for that 1 minute coffee break and then shade the whole thing. Today, let's talk about creative blocks. A creative block most of the time comes from over Rem when you focus on the end result and all the satisfaction that you will feel after you will be finished with that project, with that painting, with that book, whatever. But you have a massive work in front of you, and who wants to do that? Key to overcoming creative blocks is finding the joy in the process in the hard work you need to do and not put the end result on a pedestal. So you need to find joy in the process, in the flow, in the messing up and learning. And basically, any project, if you break it down into small baby steps and you focus on completing it step by step, you will have more regular feeling of success and not just like high at the end, like suffering through the whole process and then having a high at the end. But you will have small wins throughout the process, and it will motivate you and make you keep going and put less pressure on you, so you will not have the creative block. You will just know what you want to do and what is the next step you have to do. Also, be kind to yourself. Allow yourself not to do productive things all the time. You can rest. You can take a step back. And don't hurt yourself. Or not being good enough or productive enough, but take rest and stepping back as a part of the process where you just will get new energies and new perspectives and a fresh eye on the things that you are doing. Sometimes just sitting down and playing meaninglessly. Is what will give you that push to continue and get you back into that creative state of being. Staring at the blend canvas will not help you. So maybe you can just start doodling or not do anything at all. Just go by your day and then return back when you don't feel that pressure, again, that you now need to do something very beautiful immediately. It's just unrealistic, right? Let's keep things real. We are human. We are messing up. We are having bad days and we cannot create and be productive and be perfect all the time. And here is a powerful reminder. You are the creator. So you decide when you create when you have rest, when you are taking up time, what are your goals and how you are going to achieve them? You are the creative director of this whole thing. So be in charge of your own things that you are doing, you can do it. All right, so let's give our cat a form. We always need to keep in mind the basic geometric shapes that are the base of our drawing, okay? I mostly have rounded shapes here. So I will mostly shade with that smooth gradation, and I will just start with the head. For the shading, I will alpha log actually all the layers. And I will use the strategy of shading with a darker version of the same color. We are going to talk about the colors in other lesson. So now we'll just focus on getting our shading right. Okay? So I have my base color. I will go to the classic and choose a darker version of it, and I have a shader brush. The best brush for shading in a Procreate is a brush that has grains. If you want to create that smooth shadow. You can also create edgy shadows. It really depends on the level of detail that you want to put into the artwork. So if you have a different style of shading, just go on and do it, but I recommend you to try my way as well as well. So this is kind of a rectangle, but with rounded shapes or edges. Oh, yeah. Choose the shape of the head. And what I'm going to do is to basically just go around the edges of this shape. Like this. So it will darken it and it will immediately add this sense of space to this shape. Can you see that? Because as it was with the sphere, the shape actually was darker at the edges and then got lighter when it was like, you know, in the space. So I will try to do that and focus on going smoothly from the edges to the inner part of the face, I will choose an even darker color for the edges. This will add even more contrast to the shape. And as you can see, I am not shading like directly on that part, but outside of the shape. And as I can see, the shape is not really perfect, so I will just get back from it. And if you overdo the shading, let me fix that first. And if you overdo the shading, just grab the inner color and just go back a bit and smoothen it. And you can choose an even lighter color to the middle to add that highlight part so that it is actually lighter in the middle. Can you see that? So if I do this with all the shapes, it will have this sense of rendering. This is the simplest way to shading, and I love to use that. So when you go to this menu, you will have the history of the colors that you used. So if you choose this palette that we have created, I can just place my colors there. Place this very dark as well. So let's just do this to all of the shapes. I will continue to the ears. I have my shader, and I will just make it a bit smaller and add some shading to the edges and even at the bottom, like this. I know we haven't added the details of the face. We will do that a bit later. But now let's focus on the shading, okay? And also, I will grab the slight blue and add a little bit to the middle. And let's do the exact same thing to the body as well. Oops, the darker version, yeah. So below the head, there will be a shadow, right? Kind of a drop shadow. Okay. Well, I will add the bit back here. Cool. And now let's go to the tail. If you need, you can make the brush even bigger. And I will add a bit of lighter. Oops here at the top of the little tail. And here as well. Cool. Let's see the hens. I will do the exact same thing. Shade around that shape. Also, this shape, and choose the lighter version and add a bit of light on top. Totally cool. Now, let's see the mug. I will hold down and find a color that is darker. For example, this one. Let's see how that works. Um, it is around the shape, so I will now focus mostly on the bottom of the shape and I will add some darkness to the inside of the mug. I will make it smaller and add more shadow to the handle as this part is bit outside. I will choose a lighter color to get outside, maybe even lighter to this middle part maybe to the top of the mug up here. Can you see that to the mouth of the mug, if I can call it like that, maybe to the top here as well. I will choose an even darker color and I will just go inside. Let's not fear shading, okay? I will just add some shadows. Below this hand, you know that when it's holding the mug, it is casting shadow. So I will add those shadows there. I will make the brush a bit bigger and I'll add a little bit of shading to the bottom. Also add a bit of a shading around this bow. And I will make this inner part even more darker than the outside. And I will go here and add these edges. So you can see that how it continues. I hope you understand what I mean. So, like this, I will add this little shadow to the edge. So it creates this effect of, you know, how the cups are at the mouth. I'll darken this part a bit and maybe choose a very white and add back to the side of the mug also here, maybe even whiter to this part. To light on it. I love to play with this. Okay, I think it looks pretty cool. I will add on top a bit of a white, maybe a little reflection here and there. I add a bit of reflection down here. Cool. Let's add some shading to the coffee at first. I will choose a light brown and just add a bit of a shading to the middle. Like this, looks super cool. Now let's go to the plate and do the exact same thing. I have this dark hair. I will add this dark below it all. And I'm kind of missing something here. What's that? Yeah, I'm missing pixels. Oh, okay. This is a great opportunity to learn how to fix something like that. So I will create a layer layer below it. Choose a clean shaper, wrap the color that is there and just fill in like this. And I will just merge these two layers. And well I have a filled layer. So I can continue what I was doing with my shader. So yeah, this is the plate. I will add this smooth shading to the middle. And it is for some reason not alpha locked, so I will alpha lock it and do it again. So I am kind of trying to create a smooth gradation from the middle. I've choose even darker color from the middle to the edges. And here will the little magic happen. I will just erase from this shape a bit because I don't like it. Very much. Oops. Okay, cool. Okay. And I will choose this very light color and the shader and make it small. And I will just add this edge here. Oops, even smaller. You know what plates have inner circle. Okay, a bit of lightness around this shape. We make it even bigger and lighten a little bit. Around and make it even smaller and choose that almost white. And at the edges of this shape just add that lightness. All right, so let me just do a little recap on what we have done. So we basically filled in the shape shapes that we have in our composition to different layers, alpha locked them, then chose the shader brush and the darker version of the color and shaded around the shapes with a smooth gradation. Now, we didn't set any light direction and stuff like that. This is the easiest way to bring something to life to space if you just add shadows to it. Um, in this plate, we actually practice the flat shading. So this area is flat. There is a light, and this area is flat as well, so there's no smooth gradation as much. So as you can see, this is also a bit organic, and I have done a mug like this several times, so it comes more naturally for me. But again, to know how to shade something, you need to grab your observational skindles and actually grab a cup of coffee and just observe how the light works on it, okay? So this is basically in short, a well, I wanted to tell you about forms, and now let's move on to the next one where we are going to talk about space and the illusion of space and place our little cat to more dimensions. So see you in the next lesson. 7. Lesson 5.: Space : All right. Hello. In this lesson, we are going to talk about space. Space refers to the area around between and within objects. It can be positive space, the area occupied by an object or negative space, the empty area surrounding the object. Space is used to create a sense of depth and dimension in two dimensional Otwks and plays a crucial role in composition. Now, when we are talking about the types of space, I would love to differentiate between the foreground, the middle ground, and the background. These are the three planes in a composition that help create a sense of depth. So the foreground is the area closest to the viewer. The middle ground is the area between the foreground and the background, and the background is the area farthest from the viewer. In two dimensional art, artists use several techniques to create the illusion of space. So there is perspective. And I would say also shading or adding drop shadows. When it comes to perspective, we have several types of perspectives. There is linear perspective, one point perspective, two point perspective, three point perspective, et cetera. We are not going to actually talk about the perspectives in this sense, but let me just tell you what linear perspective is about and explain what the one and two point perspectives are about. Okay, so just at first, take a look at this image. You can immediately see who is in the front from these three characters, who is in the back, et cetera, and it is completely about the placement. And the rule that we need to follow here is that things that are closer to us are bigger than things that are further away. Okay? And also, they are drawn lower. So for example, this giant unicorn, the unicorn mama is drawn closer to the edge of the canvas. And it creates the illusion that it is like in the foreground. And this little guy back here, or even this doughnut is drawn higher and further away from the edge of the foreground, okay? Melo closer to the background. And this creates the illusion that it is behind or kind of you know, this kind of a space you can imagine there, that they are on the ground. Now with playing with displacement, you can create this illusion, right? That we already did. So if I'm creating a big circle and a smaller one, you will immediately see that this is behind. Okay? So how far you can draw things. And this is where this foreground and background thing comes to its importance. We usually have a horizon line. The horizon line let me just draw it here. The horizon line is the line between the sky and the land. We usually have horizon lines. It is just how it is. There is the sky and the land, and this is the background, and this is going to be the foreground. The closer you draw something to the horizon line, you will immediately see that it is further away. Everything that is closer to us is bigger when we are talking about size, but it also affects the colors. Everything that is closer to us are bigger, sharper, more saturated the colors are warmer, and things that are further away in the background get smaller, paler, brighter and in cooler colors. Now, we can create this illusion. If we put something here, this is a road. You already seen this little thumbnail image in the beginning. This is a road getting somewhere to the space. Now, this point where it reaches this horizon line is going to be one point perspective. If I draw a building, for example, here, and I want to make it three dimensional, these lines will always be in the direction to the vanishing point. This is called the vanishing point. I will just erase this here. And while I have a cube. Okay? We can have two point perspective as well when we have two vanishing points on the horizon line, and we can have even free vanishing points. But that's more geometry, and I don't want to bring that into this illustration class. I just want you to understand that. There is the horizon line. We have a vanishing point on there, and everything that is free dimensional will connect to that vanishing point. No, I will go back. What we are going to apply here is this first one, the linear perspective that I call linear perspective, is that things that are closer to us are bigger than things that are further away. So this is what we are going to basically apply. In the first practice, I already told you about the drop shadow. So this is how we can create space. And also shading already added space to this little illustration. So in the first practice part, we are going to at first, add the drop shadows and then add the details that we left out, right? So for creating a drop shadow, create a layer below the plate, choose black and go to the drop shadow brush that I already have included in this brush set. Now you have the black and make it big and I will place a drop shadow below this object. It is following the shape of this object kind, right? And I'm layering it. So the closer I am to this object, the drop shadow will become darker. I can layer it like this. And as the cat has his tail here, I will just draw a little bit of a tail shaped little thing at this. And if you want to make these shadow smoother, go to adjustments, gash and blur and blur them a bit together. And now you have a nice drop shadow. And it immediately created the illusion that there is space, okay? So the cat with the cup is already somewhere. It can be a desk. It can be, I don't know, a floor, whatever, it can be inside, it can be outside. We will decide that a bit later. But now let's focus on adding more details into the artwork. And also, we are going to talk about inclusion shadows in the second part. But right, let's just start. So I will create another layer on top and choose white and the clean shaper and just feeling the shapes of the eyes. Okay, cool. Now I will create another layer on top and make it a clipping mask. And I will choose the color for the eyes. And I thought that this orange brown would look good for the eyes. So I will just fill that in. Now, what you need to know about clipping mask is that it will clip basically this layer to the shape that is below it. So as we've drawn these circles, um, anything that I'm drawing on a new layer will be clipped to the shape of the eyes. And it is so good because then I can move this shape around as I wish and erase from it without affecting the base shape of the eyes. Okay? I will adjust it a little bit here. Okay. Lo so cute, right? Now, let's create another layer and make it again a clipping mask and now draw the inner circle, okay? And I'm not going to go with black hair, but a very, very dark brown. Let's see. That's almost black. So maybe this one? Yeah, cool. If you need to adjust, just select one eye, for example, and just move it around. Okay. How does it look like? For me, something's off, but maybe I need to put it lower. Like that. Maybe the eye behind as well. Oh, like this. Okay, cool. I need to adjust here. Like this and super cool. Let's shade these too. So I will alpha also eye, the back eye. Let's start there with the white. I will choose a darker silver or gray color. Choose the shader. And again, just shade around that shape a bit. I'll make it smaller, get maybe a little bit even darker so that the white is not 100% white. I will add a little bit of that there as well. Now I will play with these two colors. I will choose this dark brown and go to the golden eye part. Again, with the shader, I will make it even smaller. I will add a bit of a shadow at the edge of the eye. This will create the effect of that glowing eye. This is a bit more about coloring now, and I will go back to this golden and choose an even lighter part or lighter color, maybe even yellowish, more yellowish, like that. And around this inner eye, I will just add a bit of a glow. Looks cool. Now I'm going to this dark brown and choose this golden color and add a bit on top or into the middle to lighten the ice. Super cool. Now I'm going to create another layer and make sure that it is not a clipping mask and I will create the glasses. I will choose this very bold yellow, choose the clean shaper, and I will create the glasses. I will hold down. Make sure that it is a circle Cool. I will make this one a bit smaller. I will adjust its size. I will make sure that it is a uniform and be smaller Cool. I will connect the two and just go around and make sure that it is a complete circle. It Okay. Now I'm going to off lock it. Juice this darker. Joe the shader, and just go inside. Make it small. In the inside of these glasses. I will add a bit of texture that we are actually going to explore in the next lesson. But yeah, we'll add shading as well and a little bit of texture. Okay. And now let's add the nose. I will create another layer. The nose will be very dark brown as well. So I will choose the clean shaper. Add a little bit of nose here. Okay. Oops. I will add these little mouth. So dots here. Whiskers. Actually, I can add them. They can be whatever color. Really cool. And I will add these things to the ear. So I will create another layer, and there will be just this very yellowish beach, light color. These more yellowish I will change its color, so I will go to adjustment to saturation brightness. And I think I will make it even brighter and change the color to this. I will alpha lock it, choose a darker version of the color. Maybe it is brown, the shading and just again, shade around these shapes a little bit and make it darker at the bottom so that it has a bit of a shadow from the hat. And by this, I already added a little bit of texture. And let's go to the coffee, and I will create another layer for the coffee. Choose a really bright brown and sketching pencil. It is really good for adding details. And I will just add a spiral into the middle and draw some bubbles. Like here and there, little bubbles. Like this. Really cool. All right. So now let's just check out for a 1 minute coffee break and then we are going to continue with inclusions. Hey, today we are going to talk about the mindful creative process. I know our Dulu tells us that pro artists just sit down in front of the canvas and create masterpieces right away. But that's not how it works. You know that. The creative process looks different for everyone. If you become mindful of yours, you will really so much suffering. For example, for me, doing nothing for two weeks and then doing everything in three days is how I can work effectively. I already stopped beating myself up for not doing anything like for two weeks because I know that everything is finding its place in my mind so that I can then sit down and put them together in three days. And those two weeks count as well. This is how I work. Accepting this as my rhythm lifted so much unnecessary pressure. The mindful creative process means that you know thyself, how you function. What do you want to achieve and then approach it with curiosity. That's the word that's very important. You need to be curious. And when you know your rhythm, you can more easily break down any process into smaller steps and align it with your rhythm, with your creative process. For example, creating an illustration has its own stages from getting inspiration, creating a sketch, character design, linework, coloring, shading, et cetera. And also being mindful of the phases of the project or the thing that you are going to do, and then aligning that with your process will give you so much peace and we'll help you to work more smoothly. So don't be the Lulu. Be mindful Lulu. All right, so let's continue and talk about inclusion shadows that will help you to get more space within the artwork. And for this, we are going to use, again, the drop shadow brush and black. Now, what are inclusions? Inclusions are little shadows that you get when two things touch. So for example, when the Cat is touching the cup or where there is where the glasses, you know, or below some shapes that are casting small drop shadows, if I can call it like that. So what I'm going to do is to create another layer and add these inclusions. And this will bring more space into your art and more dimensions. For example, here, the ear touches the head. So I will make this action a bit smaller and just add some shadows, just a little line. Okay, I will put this layer on top of everything. So it makes sense. I will also add a little bit of shadow here at this part of the ear. Don't worry about the layers or levels. We are going to gosh and blur this layer as well. So this is a pro tip that adding these little shadows will really help you increase the space feeling of your otwork. Can you see that it already creates as if it was casting shadows, more dimension to your artwork. I will do a little bit of drop shadow around the eyeball so that it is kind of more cartoony. To this upper part of the eye, not all around, but only there because this upper eyelid as if would cast this shadow. Okay. Then I will add some below the nose. I will add some below the glasses, below the glasses. We'll make it a bit bigger and like hoops and try to add these here. We'll add below the nose a little bit more, maybe below this mouth parts. I'm missing these dots. I will just go back and find that layer and add these dots here with the texture shaper. Oops. And I will also add these eyebrows if I am here right now. Cool. So I'll go back and continue with the glasses. So I will add a shape or a little shadow below the glasses like this. Maybe below these whiskers as well. Okay. Below the head, definitely. We need a little shadow there. I will add this also here where the cup is in front of the body. Cool. Now, I will add a little bit of shadow here so that this is more defined shape. As you can see, we don't really have linework here in the soundwek and these inclusions really help us to add more. I will add a bit of a shading here. Okay. Then below the pores here as well. Then next to this handle. Cool. I will make it a bit bigger and I will add below the cup or mug. Okay. Then here where it is in front of the tail and maybe also here. As you can see it enhances contrast in the artwork. Don't worry about it not being neat because right now I'm going to adjustments Gashenblur I will just gashenblur the whole layer and it will be so gentle. You will not even really see that something is painted there, but it will create a shadow and that will that will just simply bring more contrast and space to your work. Alright, so as we are exploring space today, we already added some more contrast, painted details, but our focus should be more on the environment that the cat is in. Now, this step should come a bit earlier. When you are coming up with a character and you already think about what is happening in your illustration. Now we are going to just roughly sketch a background. We are not going to go in anything too difficult. So I will just create a layer below it all. Choose a sketching pencil, and I will basically just set a horizon line, okay? So I want to introduce you also to the concept of the rule of thirds. And rule of third is about dividing canvas with any dimensions into three even parts. I have one part here, one part here. One here and one here. I divided the canvas into three vamps both horizontally and vertically. Now the rule of 30 is mainly about placement of objects where these lines cross, those are focal points, more interesting points in an artwork. If I place this cat somewhere here, he will be just more interesting. I will just put every layer into a group so that I can move the cat. Yeah, I'm grouping. All right. So now I can move around the cat. If I make the cat smaller and just place him here, it will be more interesting and I can build the environment around him. If I put him down here, as you can see, the focus shifted, he will be down here. Maybe I can imagine a desk here, and then there will be a background. If I make him bigger and place him to this side, following this third Okay. This will be, again, more interesting than in the center. So if you place the cat around, you can immediately, think of environments that would fit that composition. So I want you to think where would you put the cat, and I think I will make him be here maybe making bigger. So maybe like filling up this third. So I have this third free. Now I can just add something there. You can also think about where you are going to put this illustration, for example, to Instagram. Then you will need a square sized canvas for composition and create thirds there. I don't want to overcomplicate it. I want you now to just group this cat and place him all around the canvas and think of, like, environments that just come up for you. It is also okay if you just leave him at the center. This is what I'm going to do so that I don't confuse you that much. And I will turn this lower third thing off. I will create another layer, and your task now is to just set a hornza line, and I will use the lower third for that. If I would put the horizon line up here, the angle of the composition changes. I hope you can see that. All right, so we are in the lower third. Just set a horizon line in the lower third. Okay? So the kind of the perfect third, you don't need to be precise again. Illustration not about precision. All right, so let's just do a little recap on what we have done in this lesson. So I introduced you to space that space is positive, space is this little cat here, and the negative space is everything outside of him. Then that we have a foreground, a middle ground and a background, and that we should have a horizon line that divides the sky or the wall or something the background from the foreground. Now, we have the rule of thirds, which is dividing a canvas to three even parts both horizonally and vertically and using these lines as guidelines for creating compositions. Um I also introduce you to inclusions that are really little drop shadows within an illustration that brings more depth and contrast into your artwork. And now, in the next lesson, we are going to talk about textures and add textures and then kind of build the environment also for this little kitty. I hope you enjoyed, so see you in the next lesson. 8. Lesson 6.: Texture: All right, so welcome to today's lesson. We already explored line shape, form, and space, and today's topic is texture. Now, texture refers to the way things feel or look as if they might feel if touched. In visual art, texture is perceived surface quality of a work of art. It can be tectile so it is an actual texture or implied simulated texture. But both play an important role in how a viewer interacts with and experiences an artwork. Texture can evoke a sense of realism, convey emotions, and enhance the viewer's emotional and physical response to a piece. Now, when it comes to actual texture, it is a physical texture you can feel when you touch a surface, okay? This type of texture is usually three dimensional and most is often found in sculptures, mixed media works, physical objects like paintings with thick imposto or collage elements. Now, this actual texture in digital art is impossible, right, because we have a completely flat surface on a screen. However, this is when the implied texture comes in. It is a visual texture that creates the illusion of the texture created by the artist. It looks like it has texture, but when touched, the surface remains flat and smooth, right? This type of texture relies on visual techniques like shading, brushwork, patterning to trick the eye into seeing a textured surface. You can get this with realistic renderings. So in highly realistic paintings, not drawings, artists often imitate textures, such as wood grain, fur or clothes by skillfully using shading highlights and details. So more you go into details when you are actually painting a surface, you get more realistic results. Now, in illustration, it is usually not that realistic. So there are techniques, how you can create textures, just like the one that I shown you with wood, okay? So if you add detail, and now we'll just combine these two topics a little bit. As I already mentioned, the level of detail will actually influence your style. So how deep you go into detail. So you might paint wood with really realistic, wood texture wooden brush that you can actually create and procreate or just use this level of detail to create textures. So this is actually a wooden texture. But as you can see, this blob that I created here contains grain, and this is actually, I think, created from watercolor paper texture. So yeah, back to having actually an actual texture, when you are painting on a canvas paper watercolor paper, it already has texture. And this is what we are missing in digital art, and this is why it is pretty important to add texture into our artwork. So in digital illustration, texture is often simulated using brushes or patterns to mimic the look of real materials such as stone, fabric or skin. And what I found is that when we are actually shading, in digital, we are already creating some textures. So if we go back to our cat, this shading looks a bit flat, but it already has some texture. Can you see that these grains around the face in the shadows already added some texture. Already here, can you see that this brush this sketching pencil already has a texture in it, so it already added some texture to the artwork. Now, what we are going to do is to add the fur feeling to the cat. As I already mentioned also, you can create texture with lines. So when you are drawing lots of small lines, so let me just go back here. So you can create lots of small lines, which will actually create kind of a pattern, and this is what will create this illusion of fur for us. And as you can see in this cat, you can see these small lines really created this nice fur effect. It looks really, really cool. And as you can see, I already played with colors here to add some variation, create more depth and contrast and interest in the artwork. So what we are going to do now is to go back to our cat and I will open up this group and I will actually create a new layer above the body, and I will choose a darker color and choose this caching pencil. I will go into this cat. I will make the brush a bit smaller. I will try to add these little lines to imitate fur. Okay. Okay. I changed the direction. Kind of following the shape of the body. We will add D. Nails as well and some more details a bit later. But what I want to show you is that blending modes also help us to create different effects. So if you want to go to the blending mode menu, we have this layer here. You click this in, and this is the normal. Let's just take a look on what changes when we go through the blending modes. So with multiply, you get kind of see through effect. So for example, the shading will not be that affected. So the lines will kind of continue the S for effect. So this is the multiply. There's a darker color burn, linear burn, darker color. I like this one. This is the normal lighten. You can't even see that screen. This looks also great, the lighter color. Color dodge, add overlay, soft light, hard light, linear light. There's so many, and this difference looks great as well. This is fun. So it blends into the main shape. This luminosity looks great as well. I'm not sure which I'm going to choose. It is on you, so you can go through it all and choose the one that you like the most. For some reason, I love this ad. So it is like a lighter color or color dodge screen. Maybe screen. Now if I draw on this layer, it will automatically put this to that. Can you see that? It is already a bit darker where it is shaded. Looks really great. That's for texture now. We already have texture in here. There are several texture brushes that come with procreate. For example, the materials, you can see so many different textures here, rough skin, noise brush. I will choose the noise brush actually and go to the coffee mug. Choose a darker brown. Let's see what it does. Adds a bit of noise. I think it looks good, but I would love to make it a little bit lighter. Oops. Yeah, I'll fog this coffee mug. So I will just go through the hole and add a bit of this noise, go to the plate, as well. Yeah, it's already paloged and just add a bit of noise there. And while we have some textures, maybe I will add one to the ears, as well. Alright, let's just have a little bit of coffee ourselves in the 1 minute coffee break. Okay. Today's topic is so good. We are going to talk about finding your own style. Your style is you. So, who are you? When we are talking about finding your own style, we are actually talking about your choices, your likes, and what you are drawn to. A style doesn't just magically appear, okay? And finding your own art style, is not exactly a destination but a journey. It's the journey of discovering you in your art. Think of it this way. An art style is a recipe. Every technique influence, choice your curtsyt of pink or the ingredients. Over time, you start picking those ingredients that work for you, whether it's a bold color palette or a loose linework, eventually you will notice patterns that keep reappearing in your work, and that will be your style. And I will tell you something funny. It is usually other people that are noticing these patterns in our work. Oh, I instantly knew that you created this. Have you heard this sentence already? I bet you did. In the beginning, it might just look like some decisions on the basics, like what color palette I'm going to use, like, consistently in my artworks, or if you are using linework or not, how detailed your artworks are or how rendered are they? It all comes down to effort, focus, and dedication. For example, I love to keep my designs simple, but render them a lot. And this also adds to my style that I'm doing it like this because I'm enjoying the rendering part more. Maybe you like to create very, very detailed linework and don't care about shading at all. And that's also you. That's your style, and you're doing things you like within the process. And that is your style, okay? So this is what gives a sense of our work. So again, be mindful of your likes, dislikes, and take ownership of your way of doing things. You've got this. Okay. In the second part, I really want to show you how to create a texture brush for yourself in Procreate. What I will need from you is to take your iPad and take a photo of a texture. And what I'm going to do is that I'm going to actually take a photo of this space. Okay? Mm. I just open my camera. It is not really clean, but let's see what we can do with it. Alright, let's go back to gallery and create a square sized canvas. Square sized because the base image for any procrete brush, whether with it's a source, shaped source or a grain source, has to be square sized, and now import that photo. Okay. I will make it this big. What you need to know about percurate brushes is that the source images should be black and white. So let's just go to hue saturation brightness and put down the saturation. And I want to play with a contrast here, so I will go to curves and bring the blacks more black and the whites more white. Okay. Now, we have a tool called clone. So if you go to adjustments and hit Clone, circle will appear here, and this will mean that where you are painting, it will clone the space that this is within the circle. I will just grab a brush and let it be the clean shaper. And I will very carefully go through This line to remove it. This is a new trick that you can learn now. So I'm placing this circle to the space that I want to clone. This is very useful. And it will help me. To get rid of this line. It can be seen a bit, but it's not that bad. Okay. And yeah, I will clean this circle, as well. Okay, cool. So now I have a texture like this, what to do with it. I need to copy this. I will free finger swipe and copy. Go to my brush sets, create a new brush with that plus sign. Go to grain. And here you can edit the grain source, hit edit, import and paste. And now let's create an auto repeat pattern. So if you hit auto repeat, it will repeat, create a repeat pattern from it. I will just add maybe a grain scale like this. Let's see. Now, this is weird. Does masking get a bit? And yeah, border overlap should be there. Mask hardness. This is actually pretty cool. It creates this texture within. I will heat done. And let's see texturized. Here you have two settings, moving and texturized. If you set it to moving, when you are drawing, the texture moves along with your brush, but if you hit texturize, it will be a fixed texture behind your drawing. I will hit done. I will turn this off and let's try this brush now. We'll make it big, create another layer. And, wow. Can you see that? It looks pretty nice. It is not that perfect, but I think looks really cool. It would work for a tree. Oh, okay. All right, so now you have your own brush. You can do this with whatever texture, you really just need to put it in the grain sauce, make it black and white, okay, clean it up and put it as texturized. Creating procreate brushes is quite complex, but this can be your entering this amazing topic of procreate. So I hit done, you will find this brush in the breast set as well. I will just name this brush. Tree texture. But I will name it. And sign, create a new R point. If you change any settings, you can just get back to it if you click on this RST button. All right, so I hope that you enjoyed creating this branch. Let's go back to our little cat and let's discuss colors in the next lesson. H. 9. Lesson 7.: Color: All right, so in this lesson, we are going to explore color. Color is one of the most powerful elements in art and design, capable of influencing emotions, creating mood, drawing attention, and conveying information. Artists use color to add vibrancy, depth, and meaning to their work. It can be used symbolically, aesthetically, or even to create visual harmony and balance. Now, I don't really want to go too deep into color theory. I just want to mention some basics and then see how we can work in practice with color. There are several properties of color that we already talked about that's hue, value and saturation. And when you go to this color tool here, I hope you remember there's these three tagles so hue is this first one, that is the name of the color, so red, orange, yellow, green, blue, pink, purple, red. Okay? The second one is saturation, how dull or how intense a color is. And then we have value, how dark and how light a color is. So if you choose any color, it will have these properties, right? There are several ways we can look at colors. So this is the one that I love too, but here is the disc, as well. If I draw a line kind of here, here you can see the cool colors and here are the warm colors. Now, the warm colors include reds, oranges and yellows, and they are associated with warm energy, passion, and tend to advance or feel closer in a composition. And cool colors include blues, greens and purples. They are often associated with colness, tranquility, and they tend to recede or feel more distant in a composition. So when we talked about space, um we can create the illusion of space with colors as well. So if we use warm colors, we should use them in the objects that are closer to us and the things that are further away in a distance, they become cool and less saturated and more like pale colors. Okay? So we can create a sense of space in an illustration with that. We are going to use that in our illustration to use it in practice. And what else with colors? Now, there are color harmonies. So we have the tool of color harmony here. If you choose any color, it will show the colors based on the color harmony. So if you click on this word here, it will open up this menu, so you will see complimentary colors, split complimentary, analogous triadic and tetradic. And these are basically Um, these tanss on a color wheel that will bring you like harmonies if you use these colors together. However, I prefer intuitive color choices because as we already talked about it, our subconscious is also connected, um do the odds that we are creating and sometimes things from us can come out through colors, and we can also convey emotion. So if I purposefully want to create some very fiery piece, I will use rats and then see in that moment what colors fit that. Okay? So these rules are usually just for guidance, okay? So we don't need to necessarily follow everything like 100%. When you will progress in your art journey, you will experiment out color combinations that work well together. So, for example, I love this orange, I love this turquoise blue and indigo blue, and those are colors usually that I'm using in my illustration style. Now, if you choose the blue that you like, the orange that you like, the red that you like, with the green and the yellows as well. You choose those colors and then reuse these colors in your artworks continuously. You will create consistency within your work, and it will as well define your illustration style. So it is really worth to just go through all the colors that are there and choose the variation of the color. That you like, and then work with that. So that will be your signature color palette. That is how it is called, actually. So another thing I wanted to show you is when it comes to shading, I usually I usually recommend beginners to shade with the darker version of the same hue, same color. But if you want to create more interesting shadings, more lifelike, et cetera, I recommend to push the slider a bit, for example, to this purple. So the color next to that main color on the color wheel. Here you can see this was the original color and I pushed it towards purple and shade with that. Of course, the darker version. So that we have darker value. So color shaded with this one, can you see how more vibrant this is. So like I did these shadows now with this one, but if I would have chosen this shader, this shading would be like, so cool with the purple. And so what I suggest if you are a very beginning, just choos a darker version of the same color, it is totally fine. It will create great contrast and make your values look pretty good. But you can choose a color next to it on the color wheel and it will create more interest in an artwork. Alright, so in this first practice part, we are going to create color thumbnails. Thumbnailing is really good to try out several versions of your artwork in different settings or compositions or colors. There are also composition thumbnails that are really good when you are creating an environment. But we are going very simple now, and let's just try out what color thumbnailing is. So what I'm going to do now so that we have that cat in this group, right, slide it and duplicate. Now, I'm going to flatten this group, I will hit this group and hit flatten. Now, what I've got if I turn off this group is a flat image of my cat. I don't want to interrupt the layers within the group because we are going to paint into it a bit later with color. But now I want to duplicate this little cat. I will turn off the main cat. Okay. I have one cat, kitty cat. I will duplicate the horizon line as well. We'll place it below this cat. Here, I will merge these two actually. I will put this turn this up, and I will create four of these cats and make them small. So there is one cat two three and four. Remember that this thumbnailing is bass down when it is only sketches, okay? So in the sketching phase when you don't have actually painted this little guy, it is best to word with the colors like that, but we can still use it in any part of the process. So it is really good to try this out. I will create another layer below these cats, and I want you to find two colors, one for the foreground and one for the background that will fit the cat. And we are just randomly going to throw color there, right? So we have this blue. What would look good. Mm hmm hmm. Let me think. Maybe I will try a light yellow. I will choose my clean shape or make it big, and just fill it in the background. And for the foreground, I will maybe choose purple. Mm, I'm not sure. Let's see. On this exact same layer, you can do it. I will choose this light pink for the background and maybe a dark brown for the foreground. Okay. I'm not sure still. I'm not sure if this will be a desk. It could be grass. Let's just try some greens here. I will choose a green here for the grass and let choose a light bes for the background as if it was, you know, in the garden. And let's try to make it a soil with this dark gray and maybe I will add the green to the background. Maybe different green. Maybe this green. I love this green. Wow. This looks cool. Okay. I think from these four, I will go with this one. So it will be an outside. This will be the ground and there will be grass around or some plants. I think it really complements the cat. But yeah, as you can see, with colors, we can immediately create some kind of an environment. So your job now is to create these little color thumbnails and find the two colors that you are going to work with later. So now let's go to the 1 minute coffee break and then continue building the environment. Hey, today we are going to talk about creating your own resources and making your art personal. I can do this. Really? Then why aren't you doing it? Have you heard this conversation? I'm sure you did. Let's be real. Everything has been already said, painted, or drawn. Okay? So how do you stand out? How do you create something new or original? The truth is, you don't need to reinvent anything. Why would you? But you can make things personal, creating your own resources. And if we are talking about digital art, creating your own procreate brushes or using your own textures or even in traditional, using your own paint mixes will make your art distinctively yours. Also, when you give your artworks a story, a meaning, they start to represent your journey, one that's entirely unrepeatable. Your way of doing things is yours, and that's powerful. I also want to say that when I'm saying that many times that your way of doing things is good enough, and on your journey, I don't mean that everything is perfect how you are doing it. Okay? So you must stay curious and find ways of getting better in your skills. So it doesn't, um diminish the necessity for you to practice and work on your skills, okay? Owning your art journey also means that you are responsible for the development of your skills. So don't forget that, as well. I just wanted to say it. Before anyone gets me wrong. Right now that we have our colors chosen, let's put them into our color palette. I will just hold it down, pick the color, and place it here, I will turn off these color thumbnails. I will turn back on my original and what I'm going to do is to create a layer below it all. And fill those colors in. I will choose the clean shaper, lower the opacity of this horizon line and I will just fill those colors in. This doesn't necessarily have to be perfect. I will just look fine like this. I will create another layer, choose the green, and fill that in. I will place this on top, right. And as I want to have the feeling that the cat is outside, I will just add some plant shaped silhouettes to the background. With this blue, blue, green. And I will go to adjustments Gausmblur and I will Gauss and blurry. And it is already as if it was, like, outside with some grass in the background. And yeah, this is going to be the background. And in the foreground, let's just apply a bit of a texture, and let's just use the texture brush that we just created. And this is going to be kind of wooed as if he was on a desk outside. Yeah. What I think, I will adjust the shape of this because if it is a desk, it should be, like, really straight straight line, right? All right, so I think this looks pretty good. We are going to add some more things in the next videos. We are going to talk about value and then add some extra light and details. So see you in the next one where we are going to talk about values and get it right a little bit more. So see you in the next lesson. 10. Lesson 8.: Value: Welcome to today's lesson in which we are going to discover and explore values. Now, what are values? Value in art refers to the lightness or darkness of a color, as we already talked about it, right? So how light or how dark a color is. It plays a crucial role in creating depth, contrast, form, and mood in a composition. Without value, we wouldn't be able to distinguish between light and shadow or define the three dimensional appearance of object. Value is especially important in black and white or monochromatic works where artists can rely on a range of grays to convey their subject. Now, take a look on this illustration. You can see that it is readable in gray scale as well. One important thing you need to remember is that your eye and the eye of your viewers see in gray scale. Okay? So you see colors, but it is the information that your eye picks up. What is a lighter or more in contrast, it will be more in focus for your attention. And when things blend into each other, it is not that interesting. So this is where you need to make sure that your artwork is always readable in gray scale. Value is often represented on a gray scale, which ranges from pure white to pure black with a variety of gray tones in between. Scale provides a visual representation of the range of lightness and darkness that can be used in an artwork. You artwork don't necessarily need to use pure white and pure black. If you define a range between on the scale, you know, this is going to be my darkest dark and this is going to be my lightest light. This is the value range within an artwork. Okay, so you define the high key. Hi ke is the lightest color, and the low key is the darkest color in your artwork. So this value range, again, if we are talking about finding your illustration style, we'll again, speak about your ways of doing things. How dark can you go? How light can you go? How big of a contrast you create in your artworks. That is also an element of your style that you need to think about. So you create steps, it adds atmosphere and mood, et cetera. Let me just show you how you can check the values in your artwork. So I will go back here to our cat. And let me show you a trick. So if you got the layers and you create a layer on top, select the middle range gray and fill that in. It will be fully gray, right. But if I go to this button, so change the blending mode of this gray layer to color, this is the one behind, you will see our Otwek in black and white and see how the contrast and values work in your outwork. Now, I love how this turned out. Can you see that the cat is darker than the background, and the cup is lighter than the foreground. So it is pretty balanced with the values. What I don't like is here, for example, this tail kind of blends into the dusk. Now, we can adjust that. I already wanted to add shadow to this, um desk because it is kind of flat. If I add a little bit of shading to the back, it will create more contrast here as well, and also add to that space that we already talked about. So I will turn this off. And what we are going to do in this lesson is basically make sure that we have our values right. So I will go to this bottom part, choose the color that we have here. I will actually create a layer on top and create a clipping mask for that. And as I want to keep the texture, I will not go in with the shader brush because I will lose the texture that I already have painted there. So what I can do is to go there with the drop shadow brush. So I would rather choose black, make it big, and I will try to create a smooth gradation with this layer. Oops. This will be much maybe a pretty dark part there, and smooth gradation. Can you see that? It is darker there and lighter there. I will just gash and blur this layer so that it is really like a darkening Tik Nika, can you see that how great that looks? Oh, my God. If you want to adjust the darkness of it, just go to this end, I mean, to this menu, and you can just lower the opacity of this darkness. But I love how this turned out. And now if I go back to the values and turn that back on, can you see that there is a bigger contrast between the tail and the desk, and it immediately made it pop and created more space. So it is darker back and the lighter in the foreground. This kind of brings the focus into the foreground. Okay? So the background is not that in focus. When we talked about space, we told that things that are closer to us are darker in value, right? And things in the further away are paler. And that's also true. So what I want is to add some elements to the front. I love to use some floral elements. Oh, that will kind of create this vignette kind of to this artwork, and it will enhance this lightness or darkness. Alright, so let's just have a break now and have the 1 minute coffee break. Today we are going to talk about consistency. We all struggle with it, for sure. So this is going to be very wise, what I'm going to tell you. So if you want to be consistent in your art, you need to be consistent in your art. I believe that we are what we do in those tiny everyday moments, mainly. Our little habits shape how our days unfold. So if you want to be consistent with your art, you need to develop small habits that are art related. Do a little self reflection and look for patterns of behavior that you can connect art to. For example, are you on your phone a lot? Put a sketchbook where you are doing that. So while you are on the phone, you just doodle. Okay? You will have so many ideas if you're doing that a lot. Or are you having long coffee breaks? Then connect droving while drinking your coffee to it. Are you doom scrolling? But you know what to do. Consistency also lies in seeing the big picture while focusing on the details. So again, if you have a project and you break it down into small little baby steps and you overcome creative blocks because you are focusing on the next step, and you are not an imposter because you are owning your process, right? It will also help you to be consistent because you know that you can take that next step. And what I think is very important is to celebrate your wins, not just at the end of any project that you are doing, but when you are completing a baby step. So this is the time we need to spoil ourselves and give ourselves gifts and things that make us happy. So if you have a win, celebrate it. Go for that trip or buy that dress or just treat yourself with something that makes you happy. It is very important to rewire our brain that if we do something, we will be rewarded. It is a rewarding system, basically. This regular feeling of success and celebration will also make you more confident and actually proud. Be proud of yourself. We get so much self respect when we actually do the things that we promise ourselves. That we are going to do. So keep going. You've got this. All right. And now that we are back, we are going to add something to the foreground to enhance even more the space that we have in your artwork and also to add a bit of an atmosphere to the work. So what I'm going to do is to create a layer on top of everything. Choose a darker color than this one and the textured shaper. I will just choose some floral elements to the front. I will go and go and blur it. It is in a front closer to us. All right, so now I have a little bit of atmosphere in the artwork. It added even more space. What I think, let's just check the values. What I think is that I could make maybe the background a bit lighter or the cat a bit darker, just to have a bit more contrast here. But, we will see these values. How do they work? In the next lesson because we are going to add light, and that will change everything for us regarding the mood. So I think that's all for today. See you in the next lesson where we are going to add that magical light. 11. Lesson 9.: Light : Welcome to today's lesson. We are going to explore light today. Light is an essential element in art as it affects how we perceive form, color, texture, and space. Artists use light to define shapes, create depth, and establish mood or atmosphere in their work. Whether you're working with natural or artificial light, understanding its role and behavior is crucial to creating lifelike visually compelling art. Now, to effectively use lighting art, it is important to understand how light interacts with objects. Here are the key principles. So there is direct light. Direct light is a light source that shines straight onto an object without any obstruction casting well defined shadows. Examples include sunlight on a clear day or a spotlight in a studio. There is diffused light, which occurs when the light source is softened, either by clouds, fog or through reflective surfaces like walls or diffusers, shadows become softer and the contrast between light and dark is less pronounced. And then there is reflected light. Reflected light is the light that bounces off the surface and illuminates areas that would otherwise be in shadow. For example, light bouncing off a white wall might cast a soft glow onto the shadow side of the object. So for example, in this image, we have a direct light in this glowing object that it has, it is illuminating around the object itself. Then we have kind of this ray of light that is lighting these parts of the frog. It is actually called key light, and then we have reflective light as well, for example, at these surfaces down here. Now, if we go back to our cat. We already have some white here, right? I would say this diffuse light. So this is why we can actually see anything. So we can see the cat, we can see the cup, we can see the background, et cetera. What I want to add is more of this direct light. So as if there was a ray of light like lightening the cat, and I will create a new layer on top kind of behind these front floral elements, I will choose yellow and the drop shadow brush that we have. Now, this drop shadow brush is transparent, it is set to transparency. It is big. It is really good for shading, and it will add so cool ray of white. Okay? So I will cast a little light here. Now, I think this is too yellow, so I will go and choose more white color, and let's try it like that. Okay. This is too much. I will add this light onto the cup. Maybe I will add a ray of light. Maybe I will smaller like here. And let's add the third ray of light like here. I can again caution blur these rays of light. You are not really seeing them, but I'm going to go to the blending mode of this layer and just go through that. Screen at will make it more, um strong maybe stronger. Let's put it on to add. Now, I want to darken everything that is not this rays of light, okay? Let me just do that. I will create another layer. I will fill that with black. I will lower its opacity. Okay? So I'm darkening. I will cut off this rays of light from this. Or place it on top. Let's see. If I select these rays of light and choose this layer, free finger swipe and cut, it created even more contrast. I want to adjust these rays of light a bit place them a bit like this, and it immediately created kind of this atmospheric mood and this little coffee is like illuminated. Alright. So we have added the rays of light. Now let's move and have that 1 minute coffee break and get back to add even more light. Today's topic is pretty important. We are going to talk about jealousy. And I just named this coffee break as admire. Don't compare. How to overcome jealousy? I think it is natural to compare yourself to others, to wish that their success would be yours or that you would have their talent or dedication. So the first step is acknowledging that you have these feelings and that it is okay. It is natural. And don't blame yourself for having these feelings. You are not your feelings. You are what you do about them, and you will not level up or feel better if you dim the light of others. And what I love to do is to invite admiration to the party. You can use this as an opportunity to observe what they are doing well. What is the key to their success and what is something they do that you can implement to your own journey. This is the possibility for you to learn. Admiring other people's work will help you admire yours as well. Don't approach things from lack. But from love. And if we start to admire each other, everyone, we will have a thriving artist community, whether in art or other dimensions in life. If someone else is successful, it doesn't mean that you cannot be successful as well. You have a place, and we are really happy that you are here. So we talked about reflections and what brings things alive. And I think I would love to add more light into this artwork, mainly to the eyes. So I usually add light to the eyes at the beginning, but I wanted to keep this part till the end when we are discussing light. So I will choose the inner eye choose white and choose the shade or branch, and I will just oops make it smaller and add this reflection to the eye. It will just bring that alive. Can you see that? I don't I don't like that, like that. Like this. So cool. Okay. And then I will go to this outer eye and add a bit of light there as well and make it a bit smaller where I am. Yeah. Oops. So cute. It brought it so much alive, right? I want to add some key light, as well. Um, so this is where we are going to use our main cat shape that we have here. Okay? So these are the smaller ones, and we have one big. If you don't have it, you can just again duplicate this group and flatten it because we need the silhouette of the cat, okay? I will choose a slight yellow, and I will basically select this silhouette and create a new layer. So now I'm painting on a new layer. And basically adding some light on the side of the cat, okay? So I can add a little bit of light onto the glasses as well here as well. To the side here as well. Maybe on to the tail. Look at this. Is illuminated, right? I will add some to the ear. Main beef to the mug here. It is illuminated. Okay. D. Play here. It will add just simply more contrast and more fun. Okay. What I'm going to do with this light layer is that I'm going to adjustments and hit bloom. Now bloom will lighten this part that I just painted. I can increase its size. At first, I need to add the intensity of it. Can you see that? So if I slide my pen on the screen, let me just zoom in. It will illuminate what I've just painted over. Okay? There is a transition. You can set things like this. You can add the size or make it like this very contrast or you can dilute this light a bit. I will do that. You can change the burn, how much it is lighting up. Can you see that? This is lighting up so much with this burn. I love it. If somewhere you think it is too much, you can just go back with an eraser. I would choose a shade eraser and just get back from that light. And I love how it turned out. It is so beautiful. I think we should check the values again. So we see if it is right. And I love how it turned out, but I think the background should be a bit darker. So I will turn off now the value check layer, go to this greenery in the background, go to adjustments and hue saturation brightness and just bring that brightness down. And, wow. This is so cool. Can you see that these rays of light are totally illuminating the cat and the coffee, and it looks super cool. Okay, let's check the values now. To them, I think it looks super amazing. And can you see that you didn't really need anything special to get this result. We were working with geometric shapes, applying solid colors, just lines as texture, and there were some concepts that if you understand and you apply to your work, you will be fine. Alright. I'm so happy that you are here and that you came this far. I'll see you now in the last lesson where we are going to add some extra details. 12. Lesson 10.: Detail: All right, so welcome to the last lesson. In this lesson, we are going to talk about detail. Detail refers to the intricate and refined elements within an artwork, including textures, fine lines, patterns, and small features that bring a sense of realism and complexity to a composition. Details often elevate a piece from basic structure to something more polished, complete, and captivating. They help to guide the viewer's eye, evoke emotion, adapt to the narrative or aesthetic experience of the work. So as I already told you, the level of detail you have in your artwork at first, defines your style. So, how detailed how detailed your work is, how much you go into detail in your artworks. For example, I include this even reckless in this one. So this level of detail, that is, I would say, is not exhausting for you. For me, with ADHD, and I'm a very, um, impatient person. I don't really like to go into too much realism, okay? I like to keep it on a level. And it is totally up to you how you are nailing details, how much you go into details, how much you pay attention to the shapes of the shadows, the shapes of the light, the details in the texture and the little magical details that can make your art, like, really whimsical. So this is, again, up to you how you enjoy it, okay? You don't need to force yourself to go into too much detail. There is really great art, so much, really great art without lots of details, okay? So when we go back to this artwork, now I don't really want to go into that much detail, but we can add elements that will add some kind of magic to the artwork. Um, and the first is steam. Okay? So let's add steam to this cup of coffee. So I will create a layer above everything. Choose white. And we have in the organic brush set that comes with procreate, the cotton brush. And I w to use this brush for steam and stuff like that. So what I'm going to do is to add a little steam to the coffee. And it is already a hot coffee. So these small little changes can add to your artwork. What I also love to do, and I will do this on a separate layer again, is the luminous brush and brush set and the light pen there. And I'll just slow to add little magical dots here and there. That will bring, like, a little bit of magic, really, to the artwork. So feel free to add that hoops into your work and make it really, really magical. Like, it can Enhance stuff like that. Okay. This looks super cute. Can you see so sweet? Alright, so let's now move on to the 1 minute coffee break and then finish up our illustration. Today, we are going to talk about that your effort makes a difference. Do you know what turns the floating ideas to finish the Atwexs spoiler alert. It is not talent. It is not even dedication or ambition. It is effort. Every action you actually take is what brings your ideas to life. Effort is showing up on the days when your inspiration took a day off. It's moving forward in tiny steps, but doing at least something, even if it is just finishing one little task or even taking care of yourself so that you can show up the next day more fully. Look at it this way. In your artwork, the more effort you put into each detail, like shading, sketching or refining lines, the more polished and intentional it becomes. And, trust me, it shows it makes a difference. Your effort reflects in every brush stroke, every careful line, and every color choice. And here's the power move this isn't about any external factor. It's just you and the energy that you are bringing into your twick and how freeing this thought is, isn't it? And this is so powerful. You are not a victim of your external factors. You can do anything. It is in your power. You just need to put in the effort. And I think that so freeing and even just changing your mindset a bit and thinking about these things and reflecting on them. Will bring you closer to success, and I measure success in how good I feel about the things that I'm doing. And I think that's the biggest achievement that you can do in life, like, enjoy truly what you are doing and bringing your a game into it and you knowing that you are doing what you can. It's amazing. So take your power back. You can do it. Make the effort to create your dream because at the end, it's your effort that makes the difference. And now that we are back and we are almost finished with our illustration, it is time to refine some things that might not look good for us. And here I want to take the chance to make you think about how you are presenting yourself as an artist. So first of all, I think you should add your signature to the artwork. So usually, if you create just a new layer, choose a color. It can be also a signature color that you are using for signing your artwork. It can also be a brush that you are usually using to sign your artwork, maybe a sketching pencil. You can just add your signature or if you have a logo. So I will now just import my logo. Okay, so here is my logo. I will put it into this corner and it will sign my work. So it is really good if you create a logo for yourself. You can even create a little stem brush from your signature and logo that you can then reuse in every artwork you create. Alright, so but back to details, I miss some things from this artwork, and I want to just some shape. So, for example, I'm absolutely not okay with the shape of the plate, and I miss the pole. I need the nails of the cat. So what I'm going to do is to add first go to the shape of the plate, and, yeah, just erase from it. I make sure that my shape my eraser is the clean shaper, and I will adjust its shape. I also want to adjust the shape of the eyes but you can make shapes proper when you are actually creating them, but I want you to show that, sometimes it is just you can't see them. And when you are having a fresh eye, you can always, like, adjust things and just don't worry about it. Like you are the creator, right? You are the director of this illustration, so feel free to do whatever you want. There's really no control. Here. This is a great place to experience your power. Okay, I need to adjust this light here. Here. And I will add this. I will create a new layer below this sliding thing so that it is not affecting yet. And I will choose a darker blue color, and actually the texture is shaper, and I will just add some Does it look good? No. Not that dark, but lighter. A bit darker. Smaller. Like this. Okay. Looks cute to me. What else? I really just delight here as well, just a bit. So what I want to talk about here in the details is that it is really good if you think about where you want to post and, like, design accordingly. So if you want to post on Instagram, there is the square sized canvas, so you can, like, cut off this part and then just adjust the logo so that is seen in that diamenson. If you want to post, like, for example, into a real you might want to, like, cut it like this. And again, adjust the logo. The good thing is that you have everything on separate layers. So if you want to just grab this cat and make it smaller so that it fits better into a composition, you can do that as well. So this is what we have in digital illustration as a um P thing. Whatever you decide, whatever level of detail you decide in your artwork, that will be you and it is enough, and it is good enough and it is super amazing. You just need to be confident and enjoy what you're doing, because that will be felt in your artwork. Alright? So I hope you enjoyed this little tutorial of creating this cat. I'm so excited to see what you create in your illustrations and see you in the final video where we are going to wrap it all up. 13. Final Thoughts : Yes. Congratulations. You did it. I'm so proud of you for sticking till the end of the class. I'm sure that your final illustration is gorgeous. So don't hesitate to upload it into the project gallery. If you started your class project in the beginning of the class with the initial drawing, now this is the time that you update your class project with your final artwork. I'm so curious about your class project, so make them coming. Also, if you are sharing your artwork on social media, make sure to tag me. Let's just do a little recap on what we have learned in this class. In this class, you have learned about the core elements of art and how they apply in every visual art piece. You have learned to warm up before every art session to be mindful and intentional. And you also learned about and reflected on the most common struggles of every artist. You also built up an incredible illustration step by step in which you applied everything you learned in this class. It was so much fun, right? And I hope that the class really gave you a strong foundation that you can now build on and more mindfully dive deeper into some topics that we have covered in this class. So, for example, now you know each core element, and there are so many different topics in each of these topics, subtopics, if that makes sense. So you might now, um, know that you can learn so much or so many things within linework or within shading or within space. And I wish you so much creative flow on this journey. Make sure to follow me on social media and here on Skill Share to stay up to date. And please leave a review for the class. Also with some words. It is so important to me to know what you think about it. It was a pleasure to have you here. See you in my other classes as well. I have lots of classes on the core elements on these deeper topics that I just talked about. So I hope to see you there and that you are going to continue deepen your knowledge with me. So I wish you all the best and hey creating.