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.
Yifat Fishman, Artist & Illustrator
