Ramen Soup Illustration: Learn Playful Color Theory in Procreate | Yifat Fishman | Skillshare
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Ramen Soup Illustration: Learn Playful Color Theory in Procreate

teacher avatar Yifat Fishman, Artist & Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:59

    • 2.

      Your Project Overview

      1:42

    • 3.

      Exercise 1: Eggs & Snap Peas

      5:52

    • 4.

      Sketching In Two Steps

      7:22

    • 5.

      Colors Terms and Palettes

      3:33

    • 6.

      Exercise 2: Chopsticks

      5:20

    • 7.

      Simple Coloring Strategy

      6:25

    • 8.

      Illustration or Fine Art?

      2:16

    • 9.

      Exercise 3: Shrimps

      6:01

    • 10.

      Painting with Gradients

      5:36

    • 11.

      Making Color Adjustments

      5:46

    • 12.

      Drawing Noodles

      2:42

    • 13.

      Fundamental Terms in Color Theory

      5:52

    • 14.

      Illustrating with Vibrant Palette

      2:21

    • 15.

      Creating Illustrated Patterns

      4:53

    • 16.

      Shading Layer Mask

      3:40

    • 17.

      Finalizing, Notes and Art Process

      8:16

    • 18.

      Final Thoughts

      2:01

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About This Class

Learn how fun and satisfying colors are when they play well together with this comprehensive guide for beginner illustrators in Procreate. 

Color palettes are like good soup. Throw in ingredients, season and use your imagination. Sometimes your experiments are tasteful. Other times, not so much. That’s when a good sense of color comes in handy!

In class you will learn to create lively illustrations from concept to full color. Key lessons include: 

  • Developing dynamic compositions.
  • Drawing textures and layering paint.
  • Using Procreate brushes, tools and masks.
  • Adjusting and correcting your colors.
  • Fundamentals of illustration and color theory. 


If you're struggling with finding the right color combinations for your work you're not alone! Many creatives struggle with balancing colors in their illustrations. I’m an artist and illustrator based in North Texas. My work often features portraits and places in painterly and vibrant style. I learned color theory throughout college for industrial design and in art school. But true understanding of how colors work came years later when I got into illustration. 



For today’s class I chose Ramen soup for the class project because it gives us the opportunity to draw fun ingredients and we can practice painting them separately, really
focusing on learning techniques one at a time. If there’s one thing I want you to take away from this class is how fun and satisfying colors actually are. Because when colors work you just know it!

Some previous knowledge of Procreate is helpful, though we’ll go through many essential practices on the app in the following lessons.

See you in class!

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Professional portfolio yifatfishman.com
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Meet Your Teacher

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Yifat Fishman

Artist & Illustrator

Teacher

Yifat Fishman is a North Texas-based artist with a diverse portfolio, including large-scale murals displayed in Walmart stores. She specializes in portraits and expressive compositions with a focus on storytelling. Yifat's creative spark comes from the fascinating link between people, culture, and nature. She loves creating eye-catching images that bring joy to people, combining a vivid, playful style infused with dynamic movement.

With a background in industrial design and fine arts, and years of teaching experience both online and in person, Yifat loves introducing students to the creative flexibility of illustrating with a digital toolset.

When not drawing she enjoys spending time with her family, reading, playing the el... See full profile

Level: Intermediate

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Transcripts

1. Introduction: Colors are like good soup. You throw ingredients in, stir, season, and use your imagination. Sometimes your experiments are tasteful other times, not so much. That's where a good sense of color comes in handy. Now I'm talking about illustration, not soup. Hi, I'm Yifat. I'm an artist and illustrator based in North Texas. I draw portraits and places featuring strong women in urban scenes with a painterly and vibrant style. I love using Procreate on the iPad because it's so versatile. I can run pretty much any creative idea that I have on it. Many people struggle with finding color combinations for their illustrations. I learned color theories throughout college for industrial design and in art school. But true understanding of how colors work came years later when I got into illustration. For today's class, I chose ramen soup for the class project because it gives us the opportunity to draw funny ingredients and we can practice painting them separately. Really focusing on learning techniques one at a time. If there's one thing I want you to take away from this class is how fun and satisfying colors actually are. Because when they work, you just know it. The class is a comprehensive guide for beginner illustrators. We'll cover everything that you need to know to create lively illustrations from concept to full color. You will learn how to build dynamic compositions, use the Procreate brushes and tools, understand color theory and fundamental concepts in illustration. Some previous knowledge of Procreate is helpful though. We'll go through many central practices on the app in the following lessons. So join in class and let's get started. [MUSIC] 2. Your Project Overview: [MUSIC] Welcome to class. In this intro to the project, we'll cover resources and where to find inspiration. We'll talk more about essential concepts in illustration and color in the following lessons. The class project is a Ramen Soup Bowl. Now that said, you might work on a personal project that you have and utilize the lessons you've learned in class to create your finished project. The class is planned out in three folds. The first is the project which will work on together step by step throughout the class. The second fold is three planned out exercises, where you learn to paint in procreate tools with textures and masks and everything that you need to complete your illustration. The third fold, we'll introduce essential concepts in color theory and illustration. Pick up inspiration and ideas for ingredients to include in your drawing from copyrights free photos. You'll find reference photos in pixel and unsplash.com. Links are in the class resources. In the class project gallery, post your sketches, your inspiration, your color palettes, your painting exercises, and of course, your finished project. We'd love to see what you create and to hear about your process and your journeys, your struggle and anything that you feel like sharing. Up next, we'll start painting. I'll see you in the next lesson. [MUSIC] 3. Exercise 1: Eggs & Snap Peas: Let's begin with our first painting exercise. In order to do that, go ahead and download the Roman food template from the class resources and upload it onto your Canvas. You may also just copy these simple shapes and draw them on your Canvas and we'll take it from there. What we're going to do now is setup our coloring techniques and basically create a foundation for what we're going to do next. We're going to start with the simpler object and gradually build our way towards being more skillful in illustrating food items and building up complete illustrations based on all these items and techniques to that we're drawing in today. Let's head over to our Layer menu, hit the Plus-sign, and add a new layer above our template layer. I've already got some colors thrown onto my Canvas and that will help me start painting. Go ahead and sample a few colors to work with. It's just an exercise, so don't stress over that. We're going to pick up a brush that I really loved drawing with when I'm trying to mimic that watercolor effect and that will be the old beach. This brush is semi-transparent. So if I want to have a good cover of the surface that I'm painting, I need to make sure I go over each section more than once to create complete coverage. [MUSIC] Now, we are ready to join the yolk. Let's add a new layer and pick a darker yellow. This yellow will be a yellow that is in-between the orange and the lighter yellow. It's fairly saturated. Now, let's color the yolk in like so very simple. Now, I do want to see some texture and I like that. But to have a better view, let's turn our line layers off and see how our colors are working. Now, I might want to make some slight corrections. Nice. Now, all we need to do is add some shading and give the egg a dimension. To do that, we'll pick a lighter yellow and bright spots. [MUSIC] Let's move on to our next food item. So this one is going to be a bit more intricate and it will have more than two colors. It will be about four different shades of green for the effect that we're looking to achieve. Once again, we're going to set the new layer. I'll pick my medium green to set the foundation for the complete shape. I have a dark green for shading and lighter green for lighting, reflected from the object, and some textures and highlights. The best way to go about drawing this object is to pick two colors, we'll draw the base color first and then add a completely different color like the lighter one. We want to try to get the edges of the shape as smooth as we can have them. But sometimes it helps if you switch off your guide layer and you can have a better view of how your colors are looking and then you can make some corrections. Look how quickly we can start introducing some dimension and shading with a darker color. I'm playing with the dimension of the brush. I'm not coloring the outline precisely, but I just want to play around, mention some of the shapes, and maybe enhance it a little bit, especially where the shading would fall. What we don't want to do is drawing outline. So pay attention to just add some lines where you feel that the shape has the shaded part of it, which would be like the bottom of the peas, and we're not going to draw a dark line all around our food items. Next, I think it'll be a good idea to pick brush that has more texture and that would be one of my favorite brushes. The old beach brush is great for water coloring, but if we want to create more pronounced textures, I would suggest we go over to the drawing menu and pick up the bloodborne brush. If you've been following me so far in my other classes, you know that this is one of my preferred brushes. It's very diverse, it gives you this texture resembling a dry brush, and I think it adds a lot of character to the illustration. Now that I'm looking at my snippy, it seems a little flat. I might want to add some more dimension to it, maybe with a lighter shade, lighter colors. Go ahead and complete this painting exercise and color your egg and snipes. I'll see you in the next lesson. [MUSIC] 4. Sketching In Two Steps: [MUSIC] In this lesson we'll prepare our sketch for the project, and we started class with practicing our drawing and enjoying the painting because essentially I want you to enjoy the whole painting process and really get to learn it step-by-step. The sketch that we're going to prepare now, we're going to do it in two steps. The first is going to be the conventional composition that most of us are leaning towards preparing initially. That will be a bowl from above with all the ingredients in, but on the second step we'll develop it further into more lively composition that has a pop and possess and more energy and fun in it. Let's grab our photo reference and bringing it onto our Canvas and start sketching [MUSIC]. We can draw the soup from the above so you'll end up with a circle containing soup ingredients in it. However, I think it's much more interesting to represent the bowl from a creative viewpoint, showing the top as well as the side. This made-up perspective gives us more visual information to work with. I'm drawing the soup bowl looking flat, and I'm playing with proportions just so that my image will convey all the information that I wanted to show. It's a good idea to write down a list of ingredients for your illustrated soup. Like a good recipe, it helps with keeping focused during your work so you know what to sketch in next. We can make changes to the sketch and that's the added benefit of sketching digitally. Your canvas is super flexible and you can change and move things around as frequently as you want. We're going to sketch each ingredient on a separate layer for maximum flexibility. It will come in handy when we reach the second step of the sketching process, so be sure to do that. At this stage, we can also start designing and styling. The shrimps have interesting shapes and I think they're fun to draw. Personally, I don't like drawing their legs, they're a bit creepy in my opinion. When I draw shrimps, I create stylized representation of them. For this sketch, I created separate layers for the bowl, the eggs, the shrimps, and then I'll have another layer for the veggies and another layer for the noodles with the chopsticks. The Procreate transform tool is super helpful for this stage. I like to use the uniform ratio aspect to change the size and width of an object. The warp option is fun to play with and experiment with different shapes without having to reach out for the razor and redraw the veggies. For this illustration the chopsticks add dynamic diagonals, which we really want to utilize so be sure to use them when you draw the chopsticks and also Procreate helps you create quick shapes which means that if you draw straight line and keep your stylus pressed on the screen, Procreate will create a perfect straight line, which you can tilt until you get the perfect angle [MUSIC]. Let's create another version of the sketch. We'll head back to our gallery view and duplicate the Canvas. This is a non-destructive way of working with your own ideas so I suggest doing that when you want to test out your ideas and create a few versions of the same sketch. For what I'm about to do next, I need my canvas to be longer, so I'm going to hit the wrench tool and from the Canvas menu, we'll hit Crop and Resize. Basically I'm changing the dimensions of my canvas and notice how the layer count is changing from 55-40 layers because my canvas is longer than I have fewer layers to work with. But it's okay, 40 layers is more than enough for what we need. What I'm about to do next is move things around. I'm going to pick just one egg and move it so that it seems like it's dropping into the bowl. I'm going to add a little bit of dimension like we're seeing some of the side of the egg, it's not completely flat on the canvas. Then we'll just going to readjust the remaining egg. Remember when I asked you to draw each element on different layer, that's where it comes into play. For my frames, I want to add a third one that drops from the sky into the bowl. I really love it, it's a bit bigger because it's closer to the viewer, it almost seems like it's summer salting into the soup bowl, which I think it's really fun. For my veggies, I think this nappies can be bigger and slide into the soup. Then I'll need to readjust the egg because I don't want these objects to overlap. Then I want to add more of the soup ingredients like the vegetables, the carrots, the hot pepper slices dropping into the bowl as if the cook is sprinting them into the soup. In this illustration we see how this soup comes to be, it leaves out the cook, but brings you all the elements that are added into the soup in one big splash. Now with all the new elements, I actually have to flip my chopsticks so that there will be coming from the other direction. It actually works pretty well because I want to give them a shape like maybe warp them a little bit just to give them arching. I think it adds more interest rather than have them in perfectly straight lines. With each new element that we edit and change, we have new ideas of how to work with it and how to improve it. I think overall this version of the sketch is much more interesting than my first one [MUSIC]. 5. Colors Terms and Palettes: We can understand colors by checking out a few color palettes using the photo reference that we sampled in the previous lesson. This photo is set up on a neutral background. It's actually a cool grade, it comes from the blues. Warm gray would come from here, from the reds. This gray is cool. Any color that we'll put on top of that gray is going to play with the cool settings. What works for this photo is that, on top of the cool, muted background, we have warm colors that creates all the mood in this photo. The soup is orange, we have a slightly more saturated orange with the carrots. The dumplings are almost white against the striking orange that allows our eyes to rest a little bit in this photo because we're not bombarded by highly saturated colors. In this photo, I'm sampling mostly the browns and oranges, which are warm colors and we have some balancing blue and red and green, for highlights. From this photo, I can sample light muted colors and accent colors. Then I can let her use in my illustrations. I really love the color scheme in this one. Basically, this is a great way of starting off your color palette. You can always go and adjust the colors that you pick from the photo. That will give you a good starting point for creating your color palette. Sometimes, I think that looking at photos and understanding what works will inspire you in your own work. In this illustration, for example, there is a little bit of red in the soup bowl and that really helps it pop. Now let's move on to understanding basic color terms, and then we'll create our own color palette. In Procreate, we have this disk view. If we go around the perimeter, we'll be changing the main color, which is the hue or the shade of the color. In the classic color settings, we'll be sliding the bar from right to left to change the color hue. Here is how we set up the value. For our color, it can be a brighter value or a dark value. Saturation goes all the way from highly saturated color until we reach the grays. All the colors in the middle of the color wheel, close to the gray area, are muted colors. To create a new color palette, set the plus sign and pop up your new color palette, and then you can sample colors directly from your canvas, and tap them onto your new color palette. 6. Exercise 2: Chopsticks: In this lesson, we're going to draw more food elements and practice our technique before we move on to the complete illustration. Our next item on the list is this pair of chopsticks. We're going to do one and then duplicate it and work on the other one, so that we'll have some uniformity. But also I'm taking this opportunity to show you some more fun techniques to use when we're drawing digitally and we're going to apply [MUSIC] them on this exercise of drawing chopsticks. Starting off, we want to adjust the width of the brush because we don't want to have very sharp line on the outline of the chopsticks. It just doesn't add a lot of character to the illustration when everything looks too precise. On the other hand, if you work with the brush settings as it scales too high, then the brush is going to be very big and you'll end up with very rough edges. Another thing that we can do is use quick shape and draw a precise straight line. For drawing with quick shapes and quick lines, we want to keep the pressure of the stylus as we stretch the line and Procreate will help us with creating a quick shape. We can also edit the shape and move it around until we are very happy with the placement of that line. Now we're going to swipe right to create the Alpha Lock mask. What we're going to do now is add some highlights. I'm going to pick my colors and change it to a lighter tone. I'm also going to change the shade of the color, make it slightly warmer, more pink than purple. Because if I just add some white to my purple, it's going to be very flat. White always flattens your color. If you want to go lighter, you might want to add slight warm tone to your highlights. Adding highlights when my layer is locked in an Alpha Lock mask allows me to add the highlights on top of the shape that I've already created. In that sense, I can paint freely without being concerned that I'll add highlights beyond the chopsticks that are already painted on my Canvas. This is something that I really use a lot when I draw because it's a very quick mask to apply. For the second chopstick, I can duplicate the one that I've already drawn. Let's go ahead and do that. We'll use the transform tool to move the shape around until it's just in the right direction. For the final adjustment, I want to change the shape without scaling it down. What I want to do is use the distort tool with transforming distort option, I can just grab a corner and place the tip of a chopstick right where I wanted. One last thing that I want to show you is how to add texture and drawing on top of the chopsticks. Let's merge down these two layers. Let's add a new layer. This one is going to setup as a clipping mask so that everything that we draw will be inside our chopsticks. It's confined to the layer that is underneath. If I release the Clipping Mask, you can see that my lines are all over the place. With the Clipping Mask on, let's add some nice design on our chopsticks. Now when we use the mask, it also works with the texture of the layer under the mask. What I'm getting here is not only confining my lines to the shape of the chopsticks, I'm also getting the highlights and the texture of the layer below. Your design over the chopsticks can be as intricate or as simple as you want it to be. What I want you to see is that we can work with very simple design and they are still very effective. Go ahead and complete this painting exercise and I'll meet you in the next lesson. [MUSIC] 7. Simple Coloring Strategy: [MUSIC] We practice some painting elements of the project in the painting exercises. We have our sketch and some colors in our color palette. We're ready to begin. What's the strategy for completing an illustration and where do we want to start? I suggest that we start with a simple ingredients so that we'll have a creative momentum going and we're going to enjoy the process. We're going to tackle simple elements of the project in the beginning and then move on to more major elements as we progress and we're more familiar with our work. You want to be flowy with your work rather than get stuck on major decisions. That's why we're going to start with elements that we are already confident in drawing, like the eggs and the veggies. When we have more sense of how we want to proceed, we'll do the more complex elements afterwards. Let's begin with grabbing our sketch and starting to add colors in our soup ingredients. [MUSIC] Color choices are easier with vegetables since we have a good idea of what they should look like. That said, I would leave few elements for later in the process. The scallions and the red pepper add movement and pop of colors. I might leave them for later when the color dynamics are clearer. Here I started with my eggs, I gave the top one dimension. It's not completely flat, and that helps separate it from the background. I will play with this throughout the project. Some elements will have more dimension than others. I think it's important to draw the soup ingredients in context. I started with the eggs, like we did in the painting exercise and continued with the peas. These are elements that we should feel more confident illustrating now. Remember to use dedicated layers for different ingredients so that you can make changes with ease later on. At the top of the brush menu, you'll find your most recent brushes. It's a handy feature if you tend to use the same brushes throughout a project like I do. When I draw, I like to switch between drawing with the sketch and without it. It can be distracting when you want to see how your colors are coming along in checking the outlines of the snap peas is better with the sketch checked out. [MUSIC] Let's move on to a new element of celery leaves. We haven't done those before, but the principles are similar to the snap peas with leaves, you can change the color gradually, making the base of the leaf darker than the top. That creates a nice contrast. [MUSIC] I like to add texture and definition with a Blackburn brush. Again, this creates contrast to the soft watercolor shades of the leaf. Here is something that I like to do. Select one leaf, press "Copy and paste" to copy to a new layer, then make slight changes with the warp settings of the transform tool. This is how we create a simple variation of our original drawing. That's the fun part of using digital tablet for drawing. [MUSIC] Merge the two layers to one and add some character to the new leaf. Last thing, the carrot sticks. I would use Alpha lock mask for drawing in the shading and then add some texture, it's simple and effective. At this stage, you want to flow with your illustration. We can always come back and draw in more details and go deeper. But in the beginning we want to lay down the main colors with some shading and texture. We will finish the fine coloring at later stage in our work. [MUSIC] 8. Illustration or Fine Art?: Fine art and illustration are often interchangeable terms. They belong to the same umbrella term, art. Illustration is often juxtaposed with fine art because it's an artwork that is commissioned to refine rather than self-generated. The very purpose of illustration is to get printed, and it's more commercial. Pieces of fine art are usually kept in art galleries and museums. Illustration is visual imagery that is best known for interpreting, depicting, explaining, and decorating words. Illustrations are created for commercial advertisements, publications, products, animations, video games, and films. Illustration involves creating art that depicts an idea or solved a communication problem crafted to deliver a specific message or information to an audience. That said, illustrations can be beautiful and evoke emotions. Fine art, on the other hand, is created for private use in public exhibition. It is the self-expression of an artist through their craft. Often without the intention to satisfy the audience needs. Artists voice out their own thoughts regardless of how vague it is or how the audience interprets it. Modern fine artists also sell prints or their art, but unlike the illustrators, fine art is not commissioned by clients. A fine artist could paint a flower on paper in watercolors and an illustrator will do the same, but for a client such as a magazine, so both disciplines overlap. They're not split exactly black and white. There's a thin grayish gradient in-between. To summarize all that, the illustrator's work involves solving a communication problem. The fine artist expresses free thought, and he's not confined by the needs of the audience. A simple way of putting it is that an illustrator answers questions while a fine artist asks questions. 9. Exercise 3: Shrimps: Let's work with our last element on this particular page, the frame because they're really fun shape, and we are going to really play with it. Let's get on with our old beach brush. I'm going to start with the base layer, which is going to be pink. Now as we work, we always start with a base layer, and then we refine it. We add more details, we add some shading and highlights and texture. This is always going to be the order in which we draw. We pick up the base layer color and on this layer, we layer more colors. We're going to see how that plays out for us as we start working on our bowl. I've got the basic shape of the shrimp and now among to play and add some more stains of color. What I'm doing here is I'm tilting my stylus, adding the pressure gradually. I'm not staining everything like so but I'm pressing very gently on the stylus and that helps me bring in color very gently. Now let's remember the overall shape and remove the guiding lines. Now we have a better idea of how we're drawing and how's the illustration coming along. I really like the overall shape. It's nice and clean, but I want to add more definition to it. Pick this red, it's the red that I really like working with. It's a warm red it's more of a dark pink. What I want to do is add some interesting texture and some energy to it. Let's pick the Blackburn brush. The Blackburn helps me play around. It's drawing with a dry brush. It helps me add character and define the shapes. I am a bit more artsy with a shrink trying different things because at this stage we might feel more confident in our drawing. We might want to experiment a bit more. Let's add some sesame seeds. I'm doing this in a new layer so that my illustration won't be destructive. I can always play around and change things. These are black sesame seeds but I don't want to work with complete black because it's just too dark. This is good so I'm picking a warm black, it's more of a dark brown. Because my color palette is warm I want to make sure that my dark colors come from the reds rather than from the blues, and that would give me a warm black. Let's be even more fancy and add some scallions. 10. Painting with Gradients: The soup is a major component and the background color for the other ingredients, so we want to choose it carefully. It can be a bright shade of orange or yellow. It can be muted brown shade that doesn't compete with the brighter veggies. However, you choose remember that the soup color can be edited and adjusted later in the art process to better complement your illustration. One way of coloring it is in the traditional brush strokes. However, in this lesson, I want to introduce a new and fun way of coloring in gradients. Let's head over to the select tool and make sure that it's in freehand mode and now we're going to select all the areas of the soup. We're actually going to draw a line following our sketch with all the little waving and changing pencil strokes that we use to create our soup. The selected area is now smooth and the rest of the canvas is concealed with this stripe mask. Now I'm going to go over to my color picker and pick the first color for my soup. I want to set up my brush pretty big because I want to draw in with big brushstrokes. I'm not going to cover the whole area that I've selected only part of it. Now I want to select my secondary color. I'm leaning towards combination of bright pink and bright orange. I'm going to find the right one. We can also pick a color that's in-between and fill it up as well. But really it's this point, don't mess with it too much because there is a second stage that we're going to apply next. On second thought, I think I might want to add some deeper shades of pink to create the sense of depth for the soup and some highlights as well with brighter yellow. This is pretty much it. Our next step is we're going to pick the adjustment menu and from there, we'll choose Gaussian blur. To create the effect, simply slide your pencil across the canvas from left to right. You can see the percentage of the blur that is applied to your illustration. It goes all the way from 0-100. You can scale it up or down, and the numbers will show at the top of your screen on this little bar. I think about 35 percent is the right amount of blur. I think it looks really nice. Let's remove all the other layers and take a look. Now we want to add some more texture and character to the illustration, and we're going to do it in a new layer. We're going to add this layer on top of the gradient layer. They're both going to go into the same soup group at the end of this lesson. What I want to do now is add texture and character. I'll be using my old beach brush and really introduce big brushstrokes and start adding some more texture to this layer. Looking up close, you can see that the gradient layer is transparent. A way to fix the that would be to duplicate the layer as many times as you need. Then you can either use the layers that you duplicated or you can delete them or merge them down once you reach the right transparency. So you see that you actually have lots of control over your illustration. Let's group our layer and continue adding more texture and we can also start introducing some form of shading at this stage. 11. Making Color Adjustments: Often in your work you will find that the colors that you set up in your color palette, don't work anymore for the rest of the illustration as your work progress. I want to show you how I go about doing that. The rest of the video will be more of the art process. Stick around for that. What I like to do at this stage is duplicate my layer so that I can always go back to the original, if I don't like the color changes that I've made. Pick the adjustment from the top menu, and pick "Use saturation brightness". Now you may already be familiar with this tool, but I want to show you how I do that because sometimes just a very subtle changes can make a lot of difference in your work. Now the biggest change to the colors will be picking up a different u. That means that the shrimp can change their color to any of the colors available. They can go all the way from the warm reds to the cool purples, and anything in-between. Just playing with this option might give you an idea of what direction you want to take with your colors, so that you can decide if you want to keep them or discard them and try new ones. Now, since I've already played with this a bit, I already know that I want to up my saturation and make the shrimp slightly brighter to get a lighter shade of color. Also, the colors seem a bit too cool for my taste, and they're not really interacting well with the warm pallet on the soup. So I want to make sure my color is warmer. If we look at the numbers, you'll see that the changes that were made are very, very subtle. For me, I feel that they are working. This is your indicator. There is no formula to making it work. It's just how you feel that the colors are doing. If you need them warmer, you change them. If you need them brighter, you change that, and you tweak just a little bit. Try to be subtle until you are absolutely happy with the result. When you're done, you can either tap "Apply" to apply the changes or just move on to your coloring brush and continue working. For me, colors are very important, and I can actually get stuck with finding the right ones. I'll do this process often during my coloring, makes sure that I'm on the right path with my colors. Then when I feel that it's okay then is when I continue and layer more textures on top of the ones that I have. Sometimes I need to tweak my color palette to accommodate the changes that I've made to the colors. I didn't show you the whole process of coloring these shrimps in because we covered it in the shrimp exercise. But what I want to show you now is how I'm finishing up my work, and you're welcome to stick around, and watch the whole process. Basically what I'll be doing now is adding texture, adding some definition to the shrimp, not painting in outlines, but I would like to define some of the outlines to help separate the shrimp from their soup. I'll be also using the eraser to clean up my watercolor base, and then add more definition. 12. Drawing Noodles: I think the noodles are a really fun element to add to the soup because they drop off of the chopsticks and they're playful. We want to make sure that we have fun with them when we draw. We're going to use the old beach brush and set up the width of the brush to match the widths off the noodles. It's going to be pretty easy exercise. Then we're going to add mask. With the mask, we're going to add the shading and highlights onto this element of illustration. Let's begin. What I'm doing here is using my sketch as a guide. I have a lot of lines there that I don't want to show in the final illustration so I'm just going to pay more attention to how my color look over the sketch. I do try to separate my line strokes so that I won't have a big tangle of noodles, if that makes any sense. I want to make sure that I draw each noodle separately to create interesting [MUSIC] shapes. Then next, we're going to go over to the noodle swipe right to create Alpha lock mask over that layer and add some shading and highlights to the noodles to bring them to life and help them pop out of the page. With shading and highlights, we want to make sure that we draw the darker shades at the bottom of the noodles and wherever there is a meeting points of two noodles together we'll decide which one is under and which one is over to layer our shading right. Then the highlights will help everything pop out, we'll make sure that we draw the lighter color at the very top of the noodles where they actually bend down. The upper part of the curve will be lighter and the one under will be the shading and that helps create volume and dimension in the noodles. Go ahead and draw your noodles and have fun with [MUSIC] the shape. I'll see you in the next lesson. 13. Fundamental Terms in Color Theory: In this lesson, we'll discuss some major terms in color dynamics. But first, I want to show you how to change the color of your soup bowl and create a few color options. I would suggest separating the bowl into two layers, one one the rounded parts and one for the side of the bow. Later when we color in our pattern, you'll see how this is really helpful, so be sure to use these separate layers. Now we can simply drag and drop colors onto our bowl and check out our different color options. Now the way to do it is either duplicate these pairs of bowl inside until you have a few options to work with, or you can work with layer masks and use the masking layer as your coloring layer. This is the first two options that I've created for my bowl. Let's look at the colors and understand what's really going on here. My canvas color is fairly neutral color and it's light, it's kind of a greenish-yellow. On top of that, I have this light muted yellow for the splash, and that's the background of everything else that goes on in this picture. Now I want you to pay close attention to the color marker at the center of the color wheel and see how it drops down more closer to the center when I sample the color of the bowl, because the green bowl has a more saturated, though still muted color than the background. The same goes for the light-blue ball. We can see the same example if I pick my green bowl and go all around the color wheel to change the shade of the color. Basically, all the colors that I'll pick around that area of the color circle will come out as muted or less saturated colors. If we look at the soup colors, you can see that they're all coming from the very top bright, saturated part of the color wheel. When I say, wheel I'm going to refer to the center of my color picker. In these color combinations, what we have working is the saturated pallet of the soup and the ingredients that is placed against a muted palette of the bowls and the background, and the splash. Here I have two more colors that I played with, these colors are bright red and blue. My red is the cool red and it's not at the top of the saturation option, slightly below that. I usually try not to work with colors that are at the very perimeter of the wheel since these colors can come out too bright and unsophisticated. The blue that I'm working is although it's very bright against the background, it's not the brightest that we can sample, it's fairly in the middle. We can see that these red and blue are not the brightest that we can achieve with our color picker, but they look very bright against the muted background. We're going to pick harmony next and take a closer look at our color dynamics. Now let's talk about analog colors because this is what we basically have in our red bowl option. These are colors that are close together, sitting close to each other on the color wheels, they usually match well and they create pleasing designs. Now let's take a closer look at the option with the blue bowl. The blue is a cool color, it contrasts to the warm colors of my soup. What we have in this option is basically complementing colors that are working together, creating a more vibrant image. Complimentary colors are positioned exactly on the opposite side of the color wheel, they create high contrast, intense and vibrant designs. In this case, the soup colors and the ingredients really pop against the blue, and in the display, we can also change the complimentary to split complementary. Let's make things even more interesting and remove all the colors. What we have here is an image in grays or a grayscale, and that really helps us see the contrast and how it plays out in our color choices. When we use high contrast, we bring attention to parts of the artwork and take the attention from other parts by making it less contrast, so what's playing here is really light versus dark. We can also talk about contrasts between shapes. The geometrical shape of the round bowl, and against that we have the organic shapes of the shrimp, the greens. We can talk about contrasts between warm colors and cold colors, and we can create contrast when we choose saturated colors, like the bowl and the soup versus muted colors in the background. The light colors create a very low contrast. When we move to the grayscale view, our attention is drawn more to the ingredients than to the ball and the background in these color choices. Guys, remember contrast and colors, these are two terms that should constantly be on your mind when you're choosing your color combinations. 14. Illustrating with Vibrant Palette: In this lesson, I want to make some major color choices. So far, I've been working with a fairly light color palette, but now I'm going to switch things around and create a more dramatic color changes. Let's start with the background color. I'm going to change it into a darker, cool color. The next thing that I want to do is pick another color for the bowl, and I'm going to work with complimentary color palette, and that creates a very dynamic, energetic look. At this stage, we can tweak our colors a little bit with adjusting the hue and saturation and brightness of the color so that everything will look nicely balanced. What I would like for you to do at this stage is play around with your colors. You can create a few duplicates of your document and do these color trials there without destroying your fine work. But I want you to really give it a go and see what color combinations work, because we might tend to stick with our first choice of colors. I would really like for you to be flexible, try out a few combination before you settled on your final color palette for this project. Last thing that I want to do in this lesson is start introducing some shading, highlights, and textures for my bowl and that helps give it some dimension and separate it from the soup so it doesn't look so flat anymore. Go ahead and choose your colors and meet me in the next lesson where we'll start drawing in some pattern onto our bowl. 15. Creating Illustrated Patterns: [MUSIC] Let's add some hand-drawn pattern to our bowl. This is something that I really love doing. It's very creative and it's made out of very simple elements. You really don't need to get very complicated at this stage although you can and if you do want to create a more intricate pattern, just make sure you keep it within the color palette of your bowl so that it won't grab all the attention from your soup elements, which needs to take all the attention in this illustration. Don't make the pattern your focal point, but in some way, it needs to blend in with the rest of the work. Now, in case you're wondering, I'm using the old beach brush and it's set up very small so that I can work with it very gently and the reason for that is that I wanted to blend in with the bowl that I've also created with that same brush. I'm keeping my texture within the same texture family. Now, the colors are sampled from what's already on the canvas and that helps us keep a consistent color palette with the pattern. Now, we are ready for the fun part. We're going to duplicate and manipulate the same layer over and over again until we create a pattern. An easy way to do it is swipe down on the screen with three fingers to bring up the quick menu and copy that layer and then paste it. After that, I can head over to the transform tool and make slight changes to that element. Now, when you're copying and pasting a layer be sure to work with your original pattern layer because the more changes and transformation you make on a layer procreate will reduce its resolution. Be sure to work with the original element and duplicate that one when you create your pattern. Now, remember that we created the rim of the bowl and the side of the bowl on two separate layers. This is where it comes in handy because I can slide the pattern under the bowl rim and it really helps with working on it very freely, so I don't really have to erase elements at this point, they just slide under the top layer. Here's another tip. If you want to select the layer, all you need to do is tap on the other elements and procreate will quickly show you the layer that it's on and you can pick that one and work with that layer and that saves you the time of working with the layer menu. We can also use the select tool and manually select a single element from a layer and just move that element around to complete the pattern and of course, we can pick just part of an element and move it around instead of copying and pasting a complete layer. Next, we want to merge all these pattern elements together into one layer and you can do it by pinching all these layers in one gesture and set up that pattern layer as a clipping mask to your bowl. All that's left to do after that is just finish off your design and your pattern is already. Now, we can move on to the rim of the bowl and add some more decorations there. The pattern that I'm using on the rim of the bowl is actually a very simple one. I think it's really effective because it helps connect the bowl with the background. The color that I chose is a cool color. It's more purple than blue, but it's still blue enough to help connect that with the background. In a way, it helps settle the suit bowl more closely to the background color so that it sticks out less and it helps the soup ingredients stand out in the composition. I hope you were following me with creating your own illustrated patterns, and I'll see you in the next lesson. [MUSIC] 16. Shading Layer Mask: [MUSIC] This lesson we're going to add the chopsticks over our Canvas, and then we're going to learn a new technique, which is shading using a layer mask. The first thing that we want to do is draw in chopsticks. But what I want to do is actually use the chopsticks that I've already created in the painting exercise because I love how they came out. I'm going to head over to my painting exercise, copy the chopsticks, and bring them over to my Canvas. What I'm going to do here is merge down my chopsticks layers into one, and then copy that layer and paste it into my project. Next, I want to place my chopsticks so that they'll fit with the noodles, and I can also change the colors so that the chopsticks will blend better into the other elements of this illustration. Finally, before moving on to masking and shading, we'll create some final adjustments to the model so that everything fits nicely together. [MUSIC] Now let's tap on the layer that we want to mask, and from the small Layer menu, we'll choose the option "Mask" to add a mask layer above our noodles. Mask layer work with either black or white. Anything that's we'll draw in black over the layer mask will come out as part that is erased from the image. If we want to fill the layer mask or add to the layer mask, we need to change the brush color to white. Now working with a layer mask, I can remove noodles that obscure the chopsticks to reveal the shapes and clean up a bit. The brush setup is still the old beach brush, the same one that we use for the noodles are soft pressure on my stylus, allows me to reveal just a little bit of a background that is under the noodles, so basically erasing in a non-destructive way because I'm only erasing the mask layer, I'm erasing a little bit of the noodles to create the effect of shading. Go ahead and try this with your own project, because I think it's so subtle that it will be clear when you try it on your own. What I love about this option for shading is that instead of picking colors and placing them above my noodles to draw in shadows, we're actually using the colors that are already there behind our noodles, and by erasing the noodles we are revealing them, and in that way we help the noodles blend in with the rest of the illustration. [MUSIC] 17. Finalizing, Notes and Art Process: [MUSIC] It's time to put some finishing touches and wrap up this illustration. What I have left to add to my work is the peppers and the sesame seeds and the scallions. Remember that I said in the beginning that I'm going to put this at the very end because they're going to add movement and pop of color to the complete work. This lesson is going to be more of an art process where you'll actually see how I complete this illustration and hopefully we'll get inspired to do the same with your work. Now fun thing that I want to mention is how long this complete illustration actually took. Fun fact, Procreate keeps track of the amount of time that you engage in the drawing and you can find it under canvas statistics. The time that it took me to finish this illustration was 10 hours and 29 minutes. Normally, this type of illustration will take me about seven hours, doing things repeatedly for this class took a bit longer. Now we're going to go back to the canvas and enjoy the art process. What we're going to see next is the finishing touches of the peppers and the sesame and how to add shading using layer blending mode setup to multiply. With that, we'll let the music run, and just enjoy the art process. [MUSIC] 18. Final Thoughts: Congratulations on completing the class. Thanks for joining me today. We talked about how to find inspiration and to create color palettes. We saw how we can adjust our colors. We created a fun sketch from a still sketch into a more dynamic and lively composition. We learned how gradually to add colors and build layers and layers of textures in elements. In the illustration, we used gradients for coloring the soup, and we learned several ways of using masks when we work. We covered a lot of fundamental terms in color theory that we use daily when we illustrate. We had a deeper understanding of what an illustration process looks like. I hope you enjoyed it, and I'll be looking forward to seeing your projects. Do share your projects in the class project gallery so that we can all take a look. Share this sketches and your color palettes, snippets of your process and of course, the final project and tell us everything that you want to share about your project and your process and the discoveries that you've made throughout. Stay in touch. Follow me here on Skillshare and find me on Instagram where I shared daily progress along with the finished illustration. Thanks for joining me today, and I'll see you in my next class. Bye for now.