The Procreate Pastel Masterclass

1. The Procreate Pastel Masterclass!: Hello and welcome to the procreate pastel master class. Now here was the thing. You can get brushes that look like pastel brushes inside procreate, and occasionally you'd come across a file that looks like a pastel paper texture. But the big problem was the texture of your brush wouldn't match the texture of the paper, and so the whole thing fell apart. Until now, I have a lot of downloads for you on this course, including five different kinds of paper texture for you to draw on that cover. The most popular papers that you use in bond day pastels. But more than that, for each of those papers, I have multiple brushes that are designed to work specifically with those papers. The texture of your brush you're using exactly matches up with the paper you are drawing on. In addition to that, I've made available for you hundreds of colors that are sampled from real world pastel sets. You have authentic looking pastel paper, Authentic looking pastel brushes, which match the paper perfectly, plus the kind of color you use in the real world to create pastel drawings. This is what I'm calling a complete environment. Everything works together to create complete pastal effects. But in order to get the most out of it, you need to know what my thinking was when I created the various different brushes. So I have tutorials for you showing you how to use the brushes, which brushes to use, why they work the way they do, and how to get the best out of them. Enroll on the course now and in no time at all, you are going to be creating some beautiful pastal artwork. My name's Simon Foster and I will see you on the course. 2. Welcome to your Complete Pastel Environment: Hello and welcome to Procreate the Pastel Masterclass. Thank you very much for investing in this course. It means I get to do what I love doing, which is making video tutorials. But okay, let's get down to business. But okay, let's get, but okay, let's get down to business because there are a lot of resources for you to download. If you're on Udomy, they are attached to the next video. If you're on Skillshare, go to the Resources tab. If you're unsure how to do that, go to the end videos. Because there's a video there where I download these files onto my old ipad and I can show you how I do that. Also, if you are completely new to procreate, there is also a video at the end which just takes you through the very basics of how to use procreate. Okay, so with that out of the way, let me tell you what you're getting on this course and why. I think I've given you something which I've not seen before and I'm going to give it a fancy name. Let's call it a complete environment. And let me show you what I mean by this. Okay, So if you're doing pastels, you need paper and there are a few different varieties and lots of different colors. And you also need pastels to go on that paper, and they come in a variety of different colors. And so to get a convincing pastel effect, well, you need three things. You need the paper, you need the pastels to look like they belong on the paper. And also the right colors, if we can call it that. Al right, for this course, I have scanned in five different kinds of paper, which pastel artists use all the time. And let's take one, let's try this one. Tans or me tienes, and I apologize because I know at least one of those pronunciations is completely wrong. But take a look at this. This paper texture is a very popular surface to draw using pastels. And if I just pinch outwards to zoom in, you see the paper texture I will quickly pinch in to zoom to fit At the moment, it's kind of this grayish midtone color. But on the course, I provide several different color palettes. And if I come to my color icon and tap on it, let's come down to palettes. Okay, You're getting all of these colors here, which have all been carefully sampled from real world pastels. So they are the kind of colors that you will find in a pastel set. But look, if I come down to DC pastel paper colors, that's my default at the moment. You can tell by that little tick mark I'm circling. I brought lots of different kinds of pastel paper and I scan the colors in, and I spent some time getting the right base colors for this. So these are a selection of the kind of colors you expect to see when you buy a pastel paper pad. And so if I come to my layers panel, you see there where it says background color tap on that. I can change the color of this pastel paper to whatever color I want. These are the kind of colors you will expect to see with pastel colors. And oh, that's bright, but that was scanned in. And you can do the same with any one of these papers. If I come back to the gallery and I choose say, pastel paper, which if you never tried it, is like fine grade sandpaper because it really helps the pastel to stick on its surface. And if I can make that any color I want. So, so far you've got five different papers, 30 different sample colors for each. Although if you want to choose your own color, that's easy, just come to any one of the other color pickers like the disc. And I can finally tune this to wherever I want it to be, maybe around there somewhere. Tap on. Done. Well, okay, so far we've got some nice pastel papers that you can turn any color you want and we've got some pastel colors that are taken from real world pastors and well, yeah, that's not particularly different to a whole lot of other things you can do in procreate. But the next bit, this is the bit where I started to feel a little bit pleased with myself, because when you come to the brushes with the course, you get four different brush sets. Dc. Pastoral 01, DC. Pastoral 02, DC. Pastal extra, and DC. Pastel daubs. Okay, so let's go to DC Pastel 01. And the paper type we're using at the moment is me tans. So look at this 123 me tans brushes, which are especially designed to work with this particular file. So that when you use it, for example, if I come to, well, the round pastel and I'll make the opacity up 100% I'll make it nice and big. When I draw on it, it reacts as if it's sitting directly on top of the paper surface. And by that I mean the texture of the brush is especially designed to match up with the texture of the paper. I tell you what, I'll do a couple of different tones in there just to get them to blend a little bit like this and maybe something lighter, so it's really obvious. Now if I zoom in, this brush is designed to go in particular with this paper. And I'll tell you what, look, if I make the paper invisible. That is the brush without the paper. And you can see the texture of the pastel there when I add the paper in the background. The two match up with each other. And it's a series of four different brushes. That's the standard round brush. This, which I'm using now, would be a side brush like if you are holding. The pastel on its side. You've also got pastel scraped because when you hold a pastel on its side, or in general, you're pressing lighter, you get less of the pastel deposited on the high bits of the paper. So you get this thin scraping of color like this. I'm using the same pressure, but I'm getting much less pastel put down. If I scrub hard, you can see more of the pastel goes down that behaves as it would in the real world. And also finally, look, if I come to pastel pencil, should I say tans pastel pencil, and I draw with that. If I press lightly, I get a slight past effect. Let's zoom in on this. If I press hard, you get the effect of what happens when you take a fairly sharp pastel pencil, which will dig into the paper a little bit. So you get these stronger brush strokes, put it on its side. Let's make this a little bit lighter, shall we? If I tilt the pen over onto its side, it's designed so that it spreads out over a wider area. And this is what I'm talking about when I say total environment. I have not seen this before. Where you get a set of brushes which are designed to work with one particular texture and with each other. Because all of these brushes share one thing in common, and that is the texture of the grain. That grain you're looking at right now was taken directly from this paper surface that you see in the background. Of course, you have different types as well. Look, this is pastel paper. I have pastel paper pastels. Let's take the round one, the obvious one. Let's try a nice yellow. So you can see what's happening. You can see I get much more of a gritty brush, which matches up with the grittiness of the paper. And if I come down to say scraped, same pressure but I'm getting the effect of the pastel scraped lightly along the top of the brush. What about sprinkle even lighter? So you use these 12345 brushes with this particular paper, Sugar paper? Well, that's what we called it when I was an art student. It may go by the name of something else, but it's cheap paper which you just use for doing loads and load of sketches, but you can still get some very nice results with it. If you go to DC Pastel 02, here we are at the bottom. Dc sugar paper, pencil, sugar paper, sugar paper, scraped. So let's go to sugar paper. Let's just try fairly neutral, lighter color and zooming. That's the effect you get when you use pastels on sugar paper. Because I'm zoomed in close, hopefully you can see the rough marks that you get with the sugar paper, but it provides an interesting texture. And what's more, it looks natural for our purposes now, don't forget with this. Also, you do have smudging. I can use the same brush to smudge that I made marks with. Sure you can get some smudging effects going on. Because pastels, you do a lot of smudging. Now, what about Strathmore? This is a professional paper. It's got a really nice texture, it's quite smooth. If I draw using this city up on to 100% per size, fairly large, and sure enough you can see I'm getting more of a softer cloudier effect. This might be good for doing some more softer gentler pastels. Finally we have low Vl. Is it almost feels a little bit velvet. It's very soft and you can get some very soft smoky effect with it. If I come to Velo Pastel here, let's choose fairly simple brown and draw using this. Let's zoom in a little bit with this. Come on, let's get a slightly more interesting brown. And look at that soft effect. Look at that. It's soft and it's smoky. If I tap and hold down on my smudge tool, so I smudge with my current brush, you can see how it still looks like pastel, but it smudges very gently. And look, if I take another color, let's choose a very light color. Put that down there. Come back to my smudge tool, and if I lower the opacity, it takes more time to smudge. So that can vary the smudging effect which you are going to need because you smudge pastorals, as well as making marks with them. So you've got this which is very soft and smoky in DC. Pastal extra one. I've got a few smudgy brushes here, look for law smudger there. And I can with a custom smudge brush or use any of the regular brushes that I use, but I have other ones. What smoky smudger, what does that do? It's smudging but still you can get more drawn out effects like this. Going back to the original paper that is the point of the various materials on this course, complete environment for paper. Any color, you want a series of colors based on real world pastels. Plus also a set of brushes that are specifically designed to work with any one piece of paper. And just in case you want a little bit more. Well, there is a little bit more as well. If I come to my wrench icon, the ad tab is selected. So I will come to insert a file I want my icloud Drive Procreate projects, my Pastel master class. If I come down to the bottom, any one of you who's already done my procreate watercolor master class, will know that I had something called Little Blobs of Joy. They are a series of swatches. Let's take a look at the first 105. And if I make this bigger, there we are. And I'll make the drawing underneath invisible. All of these colors are carefully sampled from real world pastel sets. And so you can be working with the kind of color you would get in a real world pastel exercise. Now you may notice one thing with this. When I brought them in, they got brought in underneath the paper layer. And because of that, you can see little variations in tone. You don't want that, you want just a simple block color to sample from. So you put your finger on where it says inserted image until it pops out a tiny bit. Then you drag it on top of the paper layup and there are your pure colors. I'll just quickly pinch inward to zoom to fit. And you may notice this. If you come to the palettes, all of these DC pastors, let's take a look at say, DC pastors, peach and maroons. Well, look at that, peaches and maroons. There's 30 colors in the palette, but there's also the same 30 colors in this on screen palette. And you can see I've labeled it peaches and maroons, number one through to 30. And so if anyone says to you, hey, I love the colors you did in that last pastel drawing, what were they? You can turn around and say they were from the little blobs of Joy palette number five as compiled by Simon Foster Peaches and Maroons Colors number 217.29 So it's a bit like pantone reference colors but not quite as confusing. Also, you have little blobs of joy 06. These are the same pastels, but this time the middle color is the color from the previous file. But I've given different shades dark to light. And they work in a very similar way to the way people make pastels darker or lighter by adding white to the base shade, quite often by adding black to the base shade. So you have that system in place. And finally, you have little blobs of Joy 07. These are a different set of pastels taken from a couple of different manufacturers. And the difference with this is if I come to say the reds here, the middle tone, that's your base color. But instead of getting three lighter shades and three darker shades, you're getting a continuous tone going lighter and darker from the middle. Third, the combination of different kinds of paper and any color paper you want, plus these specialized brushes, which are designed to work with that particular paper, plus a whole load of either procreate palettes or on screen PNG files of real world pastors. Plus the lighter and darker tones means you have you guessed it, a complete environment to work with. That is exactly what we're going to be doing in the next video, where we're going to just do a very simple illustration just to put the principles in practice. We're also going to be updating a very traditional way of helping you to draw something for the digital age. That's all coming up in the next video. I will see you there. 3. Sketch using the Digital Grid Method: All right, let's get on and draw something. I'm in my pastel paper folder and I think I want to use a pastel paper that's got a very obvious texture so that you get the clear idea that we are drawing in pastel. For that, I think the one, the clearest texture is going to be tan. So I will come, I will swipe to the left and I will du, always do this. In fact, if you have a folder called Pastel Bases with in procreate, duplicate the entire folder. Then go to the duplicate folder. Find the paper you want and then duplicate that like I've done. Tap on it to open it up and you can see it's got pretty clear texture there. Quick thumb and finger swipe in to get our paper to fit. The next thing I'm going to come to my wrench icon, and I want to insert a file, it's on my icloud drive. I will come to my Art Inspiration folder, pastel bases. And I think a very simple thing to start off with would be an orange. So I've got this one from the unsplash photos stock site. I'll leave the name as it is. And I won't try and pronounce this because I'll get it wrong. And I don't want to disrespect the author, but it's this one here, so tap on that. Has to think about it, and here we are, Actually, you know what, I want to make it just a tiny bit bigger because I don't need the space above. I want a little shadow on the bottom. And I'll put it about there and I'll tap on any icon I like just to commit to that. Okay, so that's coming in on my drawer here, layer. And we are going to need to draw this. But what I'll do here is something I mentioned at the end of the previous video. Where we're going to take a very traditional drawing aid, but we are going to update it for the digital age. So come again to our wrench icon. Come to insert a file for me, it's on my icloud drive. Procreate Projects passporle Masterclass. And it's this one? Yes. It's another file for you to download. I'm sorry, DC grid 07. Now, if you know anything about the grid method for drawing, you will know that you take an existing drawing or a photograph and you draw a grid over it like this. And then on the piece of paper you're going to draw on, you draw the same grid, but bigger or smaller, or the same size or whatever you need to do. And you use the various points on the original grid of whatever it is you're tracing over to act as reference points for your actual drawing. If you don't know that technique, you soon will because we're going to do it here. But remember digital age, because the whole thing about the traditional grid method is it takes time to draw the grid. And depending on how good you are with a set square and a ruler, generally speaking, it's just a set of squares. Then you have to repeat the same set of squares in very faint pencil for example, and use that as the base. But this is the digital age and you can take any digital file you like and duplicate it as many times as you want. So let's take advantage of that. This is a file I created in an illustration program where, amongst other things, they have color. So we make the grid lines in different colors. Now that should really help you, because the classic thing that goes wrong with the grid method is you make a mistake as to which square you're supposed to be making references from, so you make a little mark that you think is right, but actually it's one square. Too high or too low to the left or whatever. But with this, because you have different color lines, you can make a mark, for example, where the red line meets the blue line. But also because this is digital and I can create this file once and use it as many times as I want, I can take my time with this. You will notice there are also some diagonal lines. There are also three different concentric circles. So if I zoom down to this point I'm circling. If I want to copy that, I've got a strong green line. I have a fainter brownish line, but also just underneath and to the left of that red circle. So you've got different geometric shapes, different angles and different colors. This should really help you with making sure you're getting the right reference point. And here's the other thing as well. I can make this bigger or smaller as I want, if you're new, you might want to make a small grid like this. As you get more experience, you might decide, well, I want to be bolder and I'll want to make a bigger grid so I have less points to worry about. Also, if you wanted, you could angle it like this because, well, you'll see in just a second. So supposing I make the grid about what about here? What I'm doing is I'm trying to get some significant points to lie in significant areas. Like for example, this one, the very center of this grid where I have two diagonal lines meeting. I've put that just about where the stalk meets the orange. I've also got where the two diagonal lines meets that strong blue line going down that is on the far side of the shadow area. And in fact, I can maybe even just drag down just a touch like this. So I have this little area I'm circling here just at the very top of the orange. And again I've got a diagonal line there which is helping me reference that point. Okay, so my super duper reusable grid with little circles and diagonal bits is lined up how I want it. I'll just press any icon to commit to that. Okay, so now don't I need another grid to trace this off? Well, as it turns out, not necessarily look. Let's take advantage of the ipad screenshot feature at the top left of your ipad or the bottom right, If you've got it the other way round, you'll find the two volume buttons plus also, is it the home button? And so what you do is you take the leftmost volume button and the home key, and you press them both at the same time and you get a screenshot tap on the screen shot. There it is. And you can see surrounding this there is a white box with some thicker bits on the corners and the sides. So you take the thicker bits and you drag them around. And in this case I'm going to drag it so it's pretty much surrounding the border of the picture like this. And once you do it will usually re size like this. That's my reference image. And now I'm going to come to the top left and press done. Gives me choices. Where do I want to save this to? I want to save it to photos. All right, that's it. Now next thing, the draw here layer where I imported my image, tap on it and come to clear. But I still have the grid. I'll come to my transform icon and I can move this across. I want to move it across to the left to where I want it, say about here. I'm not going to move it anymore. Because once I commit to this, the bits which are on the outside are going to disappear for good. So I try to lose as little of it as possible like that. Then I will come insert a photo, because I want to go to my photo library and there you have it. My screen shot of the orange. And because I took a screenshot, the grid lines are applied and I can place this wherever I wanted to go. Let's make it a little bit bigger. I am going to make the grid, I am going to make this a little bit smaller. So you can see that with the grid method, you can make things bigger or smaller. And if you do this, make sure that you are set to uniform. If you set it something like free form or distort or warp and you drag a corner, you'll change the aspect ratio of that image. You don't want to do that, and in fact, look, I'm going to make it a little bit smaller like that. Okay, So that is the grid method updated for the digital age. It should be a lot more useful, but the only way we're going to know that for sure is when we start making a sketch based off that screenshot. So let's do that next. 4. Sketching the Orange: Okay, so let's put this theory into practice. I have my imported image, and the first thing I want to do is to make sure I'm happy with the size of the drawing I'm about to create. Because I may want to make that grid bigger or smaller, which I can do because this is digital magic. To do that, let's put down a few of the outer markers of that orange just to see how it's sitting on the paper. To do that, I'm using the met tans pastel pencil. I'm choosing a very muted dark brown. Now let's just try a couple of pencil strokes. See what it looks like on the paper. I'm finding that a bit hard. And now I designed the pencil that way. Because when you're drawing with pastel pencils, sometimes you make hard strokes where you don't see that much of the texture like that. But I think I want a fairly light flicky sketch, because I want this to look more like a modern pastel drawing where you see plenty of loose brush strokes and the texture showing through underneath. So I'll take down my paste to around about the halfway mark. Make the same brush stroke. And yeah, that's given me a much softer sketchier effect, right? Let's zoom out again and put in the markers and also run into a problem and what to do about it because, well, look, if I zoom in, let's take a look at this very obvious reference point. I've got the blue line going down, I've got the red line going across, and I have two little diagonal lines pointing down to that point. That's definitely an accurate reference point. But in order to do this, I've got to zoom back out again. I can't see both grids at the same time. I'm not happy. So this is what I do. I'll come up to that inserted image, I will swipe to the left, and I'll just delete the layer. Instead, I will come to my wrench icon. You want to be sure the canvas tab is selected? Then you come to reference. Turn it on. Now I've already done this, but to import any image you just come to import at the top. This takes you through to your photos at where you see all the photos including that screenshot we did in the previous video tap on that and there you go. And the advantage of that is that I can resize this as much as I want. I can move it out the way, but also I can zoom in on that point. But I can also zoom in independently on my main drawing area. If you're doing the Squrid method, this is a better way of doing it. So now I can see both reference points. I come and I create another layer. And I'll call this markers because I'm not sure, I'm going to use this as my sketching layer. I'll explain why in a little bit. There's my point put down a marker there and I know that's in the right place. Let's come around a little bit and take a look at, say, the bottom marker. If I go one square long to about there, then I go down past that blue line, it's about about here. What I'm looking at is that little triangle that's made underneath the big blue line. And it's the triangle formed by those two diagonal lines and the bottom of the orange. And it looks like a little triangle like this. So I'm pretty certain that's the bottomost point of my orange. Now, what about the rightmost bit? Well, look, if I take a look, I can see in my reference, I've got that blue line, it's past there, but it's before the green line. I can just about see the brown line on the actual orange itself, although it tends to disappear. But I'm pretty certain it's around here somewhere. Then comes up and goes round like this. What about the top? It's about halfway in between the blue horizontal line and the green horizontal line. It's to the left of the red vertical line. In fact, yeah, I've got where a horizontal vertical and a diagonal brown line met up, so pretty certain it's right there. And you can see when I'm doing this, I'm getting an idea of the outer limits of where my orange is. And I know they're accurate because I have this grid reference with all these different colors, which is making it pretty easy for me to reference what I'm looking at Now, what about this stalk? The top of the stalk, I've got a blue line and a green line and a horizontal line. Where it's about there, isn't it? What about the leaf? Well, the tip of the leaf is where I've got two blue lines crossing, which is that one there. And the tip of the leaf is extending up towards that brown square. It's about there. Now, when you're doing this in your mind, you take each one of these squares and you divide it up into ten, for example. And you try and figure out how far into the square it is. It could be halfway into the square, it could be a third of the way into the square. What I normally do is, in my mind's, I divide that square up into ten different segments. Like let's take this one here. You see where the stem of the leaf joined the stalk of the orange. That to me looks to be about halfway, maybe just slightly halfway from the blue line towards the brown line. So I know it's going to be about here. The underside, pretty much where I've got that brown diagonal line meeting the arc of one of the circles. So now instead of thinking halfway along the square, I now have it's where a diagonal meets an arc. So it just makes life easier for me because I can think in geometry terms diagonal arc, and I can also think in different color terms, red, green, blue, brown. So let's take a look at my markers just to see how this is fitting on my page, and I think that I'm happy with that size. Just one more thing. Before I do, I just want to make a couple of markers where the stalk meets the actual orange. And what do you know? Right in the middle way, you've got all these lines converging. I definitely have a marker there. Let's take this point on the stalk now. Yeah, this is a case in point that is straight up the red line, but it's in between blue line and the brown line, which is there. And it's about what, seven tenths of the way up that red line. So that's, can be about there. And then it goes across to this square here with the red, the blue and the brown lines. That's about two tenths, three tenths, maybe about a quarter. So that's going to be about there. Okay. So I'm pretty happy with the size of that if I wanted to make it bigger or smaller. Well, I'll show you that now. I have my markers in place. I also have my grid in place. That was the inserted image. Come on, let's rename it so I can talk more clearly to you. I have my grid layer, my markers layer. I will come to my markers layer and just slide and let go. So that is chosen as well. Now if I come to my transform tool, again, make sure you are on uniform. Do not come to distort or warp or freeform. You want uniform. I can pinch in a little bit just at the side of the screen, not the screen itself, to make things a bit easier for me to see. And if I want to move this, I will choose point on the outside and move it around, Not on the inside, because I don't want to risk rotating this image. I can make it bigger or smaller as I want, I can position it on the screen by dragging from the outside. But as I say, I don't want to risk rotating this grid. I could rotate the grid in the previous video. We know we're setting things up because once you take the screen shot, you're left with the same grid at the same angle. But once I've taken my screen shot, no, you can't rotate it anymore anyway, Supposing I reposition it and I prefer it where it is, I can tap on any of the icons at the top just to fix it. So now the next thing to do is I can always come to my draw here layer and put my sketch there. Okay, so now I've got my markers in place. I want to do my sketch. I'm going to come to my drawer here layer, which I haven't used yet. And I want to do this on a separate layer to my markers layer. Because the markers layer was for working out the anchor points. And how big I want this on my paper for the actual sketch itself, I might include it in the final drawing, and so I don't want these really heavy marks here. I want something a bit lighter and a bit more flicky. And so I'll come down here and I know where I have the top part of my orange on the side. And I can just draw like this. I could still be taking notice of the various different grid points, but I want this to be a little bit lighter, a little bit faster brush strokes like this, and two fingers to move this along. Because, well, if you take a look at some very old fashioned pastel drawings, you can't tell them from very finely detailed oil paintings. But these days pastels tend to be a little bit freer, a little bit looser, and you can see the texture of the paper. And so that's the look I'm going for because this isn't the pastels looking really realistic master class. This is the pastels master class. To get pastel like effects. Those curves were easy for me to do because I'm right handed and I'm using the natural arc of my right hand to do those curves. However, the curves on the other side, they are very unnatural for a right handed person to do. Look, I'll have to give it a try and, uh, undo that stroke. And just two fingers rotate around. And this is what you do in real life. You'll be rotating your paper around all the time, just so you're using the natural curve of your hand. Now, how's this going? Again, I'm doing it nice and light fast brush strokes, the viewer isn't going to see that reference image at the end. And also, oranges do come in different shapes and sizes, so I don't need to be too precious about getting all the exact grid bits lining up. I just need a general round shape sitting nicely on my picture. And I think, yeah, that works now for the stem. Again, people aren't going to see the final image, so I don't need to be really uptight about getting all my anchor points in place. Instead, I want expressive brush lines. Yes, I'd like it to look like a stalk. I don't want it looking strange or anything like that, but I also want those fairly light flicky brush strokes that hopefully will keep this drawing looking quite fresh, like someone hasn't spent hours and hours and hours agonizing over every last detail. It's just something fairly light and you know what I was about, say be confident. But the only way you can be confident is by practicing and getting confident. That way, what I would say is spend as much time as you want looking at what you're drawing. You should be doing that anyway. Spend at least three or four more times looking at the subject than you do actually making your brush strokes. So look at it all you want, get an idea of where the various different reference points are. But when you make your brush strokes, just try and get it a little bit freer and easier. Happy brush strokes, there are no mistakes. Only happy accidents apart from the unhappy ones. Sorry, Bob. And all due respect to you. Great man. Okay, so let's see what that looks like without the markers in place. Yeah, that's fine. And what about without the grid in place? Yeah. I now have a sketch and orange, which if I need it to be accurate, it's accurate just while I'm here. Even just looking without the grid, I'm thinking there's one or two things I want to do here a little bit there. And come to my race tool again, make it a little bit smaller because that is looking a bit ugly. Come back to my brush tool. Okay, so let's carry on in the next video. 5. Select a Palette and Draw: Okay. Let's choose some colors for this. Before I do though, let's do a bit of housekeeping. Don't need that rid anymore, so let's get rid of that. I don't need the markers anymore. Get rid of that. And what I will do, I'll come to my gallery. Okay. And the next thing I will duplicate that. So I always have my original image to work from. I will look at that, it call on my image. I don't need that. So let's come to import image again from photos. We're good to go because the next thing is I need to choose some colors. For this, I will create an empty layer. Otherwise the colors I import will import onto my drawer here layer. And I can't be bothered to rename the layer I'm working on. So branch icon and insertifile come to my icloud drive. My Procreate Projects Pastel master class. Let's come down to our little Blobs of Joy. Let's try Blobs of Joy, 05 Pastels. That's probably a simple one to start off with. And there are my various colors, and I will make this as big as I like. Come to my layers panel and I'm going to create another layer. And I'm going to choose the second brush, down my round tans brush. I just want to experiment with some of these colors just to see how they fit on the page. Let's make the orange big, big as we like. But what I am going to do is play around with colors and get approximate colors. But I'm not going to change the background so it is darker. I quite like the background, the color it is. I think it will go quite nicely with orange colors. And while you can draw on dark paper with pastels, and people often do, I want this to be a little bit lighter. And because I've changed the background effectively, I'm going to be introducing more light into the scene. So I don't necessarily need the really dark colors that I can see in my reference photo. I will want dark colors though, and I'll explain why when we come to draw. And what colors do I want? So I want to choose a pretty deep color. What about color number 29? Is that going to work? Let's try that. Let's try color number 23, because as orange gets darker, it becomes brown. Now, we were using color number eight, which I like. I need a color in between. I want a fairly intense red. Because you tend to find around the terminator that this bit where the light hits the darker area, you tend to get quite saturated colors. In this case, I think it's a reddish color. I need something in between, don't I? What about color number three? That's pretty bright. Okay, Let's try that. 292338? Okay. I like color number three and I like number eight, and I like the way they're playing with each other. I don't like 29, so I'm not going to be a slave to this palette. Instead, I'll take that color number three. And I'll open up my panel. And I want a, it's still in the terminator, so I'll still want it fairly saturated. And see what that looks like. What's it color number three that's sitting better. And then color number eight that I prefer. But I do want a darker version of what I had because we build up dark on light. I think I'll use that as my base color. So for this, let's get organized. Let's an area of color like this. Then. I chose that color. These don't have numbers, remember, these are just solid colors I can sample from when I'm drawing now. What was it next? It was number three, wasn't it? That's three. I like what that's doing with a darker color color number eight. I like what that is doing with color number three. I need a highlight. As it's getting towards highlight, it's getting more yellow. Can I get an in between color? It's pretty similar. That's color number 19. Yeah, I'll go with color number 19 finally, for the highlight. Well, I've got these very light yellows here. Let's come from yellows and browns. Number six. Actually, that's a bit too bright for my liking. Let's try number, well, let's try yellows and brown color, number seven. Yeah, I like that. So what have we got? I'll choose my pastoral pencil color that was yellows and brown. Seven, y, seven, that's a bit too thick. Let's make that thinner. Color number 19 didn't, and that is from reds and oranges are 19. Color number eight, color number three, and the last two are made up. I'll know from that if I want to refer back to it, that all of these colors are going to be red and oranges. 19, and that's going to be yellows and browns seven. Now I'll leave my palette there because I need to come back to the greens, but I want to move on with you and I will also choose my Rays tool on 100% and just get rid of these colors underneath. Now finally, I have my colors. I can start drawing. Let's put this off a little bit to one side. Give myself a little bit of space to draw with. We will take. I've got, let's call this palette. And I'm going to move this just off to the side like this. Come to my drawer here, layer. And finally we are ready to start drawing for that, let's do some fast brush strokes. Let's come to pastal side and you start off with the darkest areas first. As before member I can always erase these. I'm going to lay down this fairly thickly. I'm keeping an eye what it is I'm drawing. I can see darker areas around the stem like this. Extend that out a little bit, because remember, I'm going to be laying down lighter colors on top of this. Maybe that's about as much as I want to do, and I'm going to leave it fairly free. I'm going to try and work fast here on my next rule, and this is really important. Please try and work at ideally, a similar speed. Don't talk like I'm doing because it's really distracting. It's giving me a hard time. But don't try and get your drawing to look like mine. Look, I've done lots of tutorials because I'm always trying to improve. And the worst thing I can do when I'm doing a fairly free, expressive illustration like this, is to try and match up my fast flicky strokes with what the tutor is doing. If you do that, you will almost inevitably start doing some really careful considered strokes to try and get it in the same area and you'll lose some of the spontaneity, I guarantee you. So your drawing should look different to mine. Now, can you see this? When I'm putting down these lighter areas over dark, the darker stuff is staying in the valleys, the lighter stuff is staying on the hilltops of the paper, so I'm getting a much more natural effect like this. I'm just doing a few light flicks like this now. What about, oh no, let's do a little bit around the top here. There we go. Try and keep the brush strokes in place. Maybe a little bit smaller. Just try and pick out a little bit of detail. Just around here, around here. You vary the width of the brush strokes. Now, I didn't mean to do that last light brush stroke, but I'm going to leave it in there because when you work fast, you're going to get a little bit of randomness in there right now. What about this main orange? Yeah, it's sitting nicely on top of the darker areas. I'm going to just go really fast around this. Bring it up to here. I'm trying to make my brush strokes follow the contour of that orange. Bring it down there. If I want that to extend a little bit further, then I'm going to come to my meant pastel. Scraped because that leaves less pastel in the mountain top areas, but overall. But you can see when I do that, I can press fairly hard and I'm still getting a textured effect now. What about the slightly lighter stuff? I'll come to my meant pastal round. I want that again to be pretty big. Yeah, that's just picking out some high lights like this, which I do quite like. That was way too heavy. That brush stroke I just did went a bit too fast there, take it back because it destroyed some of the texture of what I was doing. And finally, I want that highlight now. Should yeah, I'll use the scraped again because I want these highlights to be picked out fairly lightly. Like this. Actually, that's a bit too much, so I'm going to take that back a little bit. Keep on two finger tapping. Take that down. I will use my pastels round, maybe make it a little bit smaller. I'm just drawing that high light area again because I'm dark light, I'm getting a better high light. I went too far with that. Again, I'm going to two finger tap to undo that. Isn't two finger tap, wonderful. Come on, let's come over here a little bit. Now, I've quickly put down these brush strokes, but I think I need to do a little bit of taming with it because I was going so fast. Now when I'm doing it, I'm now over lighter, which I was saying I don't particularly want to do. But I can always come back in at any point and reapply those brush strokes. Now I do want some deeper colors just around the outside of this orange on the right hand side. But if I do that look, the brush is too big. So I'm keeping this as simple as I can, not bothering with clipping layers. Instead, I'll just come to alpha lock. When I do that, it means that on this layer, I can only draw on any bit of this layer which already have pixels there. If it's transparent, I can't do it. Now, I can easily see that easy. I can draw around and bring out the shadow areas of that orange much more easily. But I'm not going over anything, I'm not going off onto the blank bit of paper. So that's a fairly easy thing to do in fact. Also various texture bits on the inside of this orange which I can put stuff down on. I'm just trying to match some of these colors in with each other a little bit. As soon as I don't need it, I'll turn off alpha lock. I'll make my breast size smaller because we're big. Then go into the smaller areas. I'll start a sample colors from the actual image. Now now that I've got my basic colors in place, just try and work up a little bit of detail just around here always. Do you break brush strokes first or hang on Alfa lock because I want a little bit of reflected light here but I don't want it going too far. So I will do that. So I don't go over into that shadowy area as soon as I've done that Alpha lock off. Now bear in mind as well, when people are doing pastel drawings, they'll be using their finger or blending stump or whatever to blend things. It's one of the staple things that you do when you're drawing. Well, in this case I do have some smudges down the bottom in the DC pastel extra one, but I'm just going to use the same pastels to smudge with as I used to paint with. So I'm in the smudging tab. Same brush as before. I might take down the opacity so the effect isn't quite as strong. And let's do a little bit of smudging around here just to blend these colors in. Can you see that happening? Those colors are starting to blend, and I'm starting to get a softer terminator around here. And this is very, very similar to what you do when you take your finger and you rub across pastorals. The difference being is you do it in the real world, well, the paper texture is always going to be there. You're not going to flatten out the actual paper texture by doing this. You're just going to spread the pastel over the hills and the valleys of the paper itself. But bear in mind, this isn't the real world. This is more digital. So you can start to destroy the texture a little bit by doing this, but that's not a problem. Come back to your paint brush. In this case, use the pastel. Scraped, Just use a little bit of local color there and you can just reintroduce the pastel texture like this, as well as getting your smeared effect. So you can really fine tune this. Let's make this a little bit smaller. I need some slight deeper oranges around here, I think come on a little bit deeper. Just start to draw out some of these. No, I'm using the scrape, that's not the right one to use. Let's use round, make it fairly small because the scraped is just putting down lighter areas. I need something a little bit bolder, maybe a little bit bigger, just to get some of the deepness of the colors just as it goes into the shadow where the stalk meets. And I'm looking at this now thinking, okay, I'd like to do this bit, I'd like to do that bit, but time is starting to march on and really should be starting to look at some other things. Let's let's choose a color from here which is yeah, a slightly deeper orange Alfa lock back on and I just want to boost up these darker colors underneath. In fact, look, if I'm doing that, it's more of a peachy color but just a little bit deeper just around here. If I decide I've gone too far with some of these free and easy brush strokes, just come back to my eraser tool again and I'll choose a round brush, full pasty, doesn't have to be well, whatever size you want, take half a lock off, and maybe just kneat up one or two areas around here. Because I'm using one of the pastoral brushes to erase. It'll still leave one or two bits around, like if I come down to here rays, but I'm still getting one or two pasty bits in those areas, so it's not that cold and it's still looking like a pastoral effect. And I'm starting to get a little bit too obsessive about this at this point I stop. In fact, I'm going to raise once because I'm starting to get a bit too hung up on. Let's make that bit right, let's make this bit right. And I want this to be free. I want this to be fast. I want this to look like a quick sketch, not a quick sketch that I've suddenly decided to spend a lot of time working on. So I'll stop here and I'll finish up in the next video. 6. Finishing the Orange: Okay, let's try and get this thing finished off. I called up my layer three, that's with my little blobs of joy on. And I chose from the greens and turquoise palette. And I suppose the main color I've got is greens and turquoise is 17, 27, 28. And I also took greens and turquoise is 17, which is that one came to my colors. And I've got a darker, more neutral version of that color to act as my base shadow for that. So let's make our little blobs of joy panel invisible. If you have enough memory to do that, Fine. If you don't delete the entire layer because you still have the codes there. Gt 17, Y, B seven, and so on and so forth. Let's zoom out a little bit. Let's choose our palette layer. Let's come to our transform. Let's move the whole thing up there, so that we can zoom in on that area. Let's move this across. Look, it's up to you. We can do this on a separate layer if you want, or we can do it on the same layer. I'll do it on a separate layer because I want to make the point that layers are a good thing and there are advantages to using them. You don't have to for this. Well, I need some of the darker areas. In fact, I've got some very dark areas around here. I'm noticing that I've drawn on my sketch layer. I didn't particularly want to do that because I might want the sketch to show through. That's a mistake people will make all the time. So this is what I'm going to do and I'm showing you this in case you make the same mistake. And also the nice thing about doing backups and versions, this is version two of my drawing that I'm working on. But version one has the layer with the sketch on, so I put my finger on that layer until it lifts up. I drag it over to where it says gallery. I'll wait for a while it goes through, then I open up mutants 4.5 Drop it in there, it imports it, and there's my layer in place and in the same position, which is nice. Thank you very much. And look, let's do me your favor and call this sketch. I think I would like that to be sitting on top of the drawings that I'm doing, which it is, but I'll lock it that way. I won't make the same mistake twice. That's the advantage of locking your layers because I've done that though. If I make it invisible for a second, you can see the leaf shape. But if I make it visible again, I'm doubling up the effect of sitting one on top of the other, that's a bit too strong. I come to my drawer here, layer, I select my arrays tool, I can just get rid of this. Be careful when you come down here because you don't want to erase any of that orange. Put it back on again and you're good to go. Okay, so I did want another layer. Didn't tight. Let's do that. Come on, let's rename it leaf. And Well, I want the darker colors first, don't I? What brush am I using? I don't want to use the pencil In't. Use the round brush for now. It's going to be smaller. Is that about the right size? Yeah, that's fine. And I'll just put in some of these darker areas here. I'm not drawing directly on the sketch layer. And there's one or two other darker areas here. Bear in mind this leaf is in a pretty strong lit area, so there's going to be some pretty dark shadows. I've made everything lighter so it's not going to be quite as dark as the original. Also bear in mind as well in the reference, This is a photo. And even with image manipulation these days, when people look at something and they know it's a photo or they assume it's a photo, they'll accept anything that leaf is curved around at a weird angle. So yeah, we accept that, but we're not doing a photo. Here we are doing a loose pastel sketch. And people will accept just about anything in a photo, but they won't accept the same thing if it's a pastel sketch. And I'm looking at this bit here, where the leaf folds over, that's clear enough because, oh, it's a photo. If I try and reproduce that in a loose pastel sketch, people are likely to get confused by it. They won't know exactly what it is they're looking at. They might judge your picture as being, well, not quite as good as it should be when you're doing stuff like this. You do have to simplify your shapes. Now, I should have still put down a fairly strong area of dark around here so that I can build on top of it. And I'll do that here. I think people will accept the leaf folding over at this point I'm not so sure about here. I might try and simplify that shape when you're doing your pastorals, you need to simplify your shapes. Like for example, this other leaf here which I'm circling. I didn't even bother drawing that. I think that will just be way too confusing. So, pick carefully what it is you want to draw. Right? Let's put this down here. I'll make it a little bit smaller because these are fairly fine shapes. And I want to put down a little bit of contours just around here, more on the lit side. I'll make this bigger because I've got the main body of the leaf here, which is predominantly color that I've got or the color that I'm using at the moment. Don't be afraid to put down large shadow areas and well, pretty sizable lighter areas. But you tend to find that the shaded areas tend to be pretty big. And I need these to interact with each other better, but the high light areas maybe less. So they're a little bit more focused and highlighted. Look at this leaf for example. There's quite large shadow areas here, and there's a bit around here, which I should do more. But if you look at those little highlights, they're fairly small and fairly tight. That will depend on how shiny the surface is. But in general, don't go too heavy on the highlights. Don't spread them out quite as much as you would do with the shadow areas. That's a general rule of thumb. Not in all cases. But my main rule is don't be shy with the shadows. I've had quite a few people sending photos in or sending illustrations in for the Solid Foundations course or the water color course. And it's been great seeing things. But one advice I keep on giving is don't be shy with the shadows. You see just a tiny little bit of shadow, very shyly hanging off the bottom of an object with a huge mass of the local color. That's probably the color I'm using now, not a lot else for this. I'm just trying to sketch on one or two of the highlights. It's a little line just along here, a little bit around here. I'm now more scribbling than laying down areas of color here. A little bit down there. And I'm working very fast. I'm not trying to get this to look like a really accurate bit of botanical art, I'm just going for the general feeling and I'm trying to let the colors play with each other a little bit. Those shadow colors are playing with the main color and these high light areas playing with the other colors. For these lighter highlights, just one or two very light bits, not much at all. Just to give a little bit of pop to what I'm doing like this. And also in general, the main focus is going to be the orange and the color. So you probably spend more time concentrating on that than you would do on the leaf. So I'm going to make the leaf a bit more skirchy, a little bit faster because looking like what it's supposed to look like is great. But when you're doing loose stuff, the simple way the textures play with each other on the page is also great. And just adding those few darker streaks there has made that leaf a little bit more interesting. What about some of the semi lighter streaks? That I get an overall lining on the top half of the leaf, a little bit more so than the bottom area. Because another very common thing that people do is it's all one color with a few variations. But when you look at objects, you can get a massive shadow area, a mass of local color, and a mass of lighter colors as well. That's what forms the overall object. It's not just one huge blob of orange in this case, with a tiny little bit of red and a tiny little bit of a highlight, you get areas of color. Now you can see here, it looks like I made a bit of a mistake. I put down a darker area. What do I do with that? Do I keep it and say that was part of the overall speed of what I was doing? I think in this case, look, if I wanted to get rid of it, choose me local colors come to the orange layer. Classic mistake going on that it looks like that is actually on the leaf layer. That's easy. Come to the leaf layer, get rid of it, and I'll leave those marks underneath just for a little bit of variation. Okay, so the very last thing I want to do with this is just add a little bit of shadow underneath because at the moment it's floating in midair, come down to my layer underneath my orange layer, create a new layer. I'm just going to sample that screen color. Put my finger on, choose that color, come and choose a darker, fairly saturated version of that. For my brush that's come to our side pencil, I want it big, just create an area here. The shadow might be the light is coming in from above and to the right slightly, so there'll be more of a shadow on the opposite side. This, I'm going to lay it on a little bit thicker, just around the base of the orange and let it gradually fade out with lighter brush strokes off to the side. Because you'll get the deeper shadows directly under the object. A little bit more around here because it's coming from the front and to the right, you're going to get a little bit of shadow coming back again, a little bit deeper, just where the shadow meets the orange. Final touches. Draw here. Let's come to half a lock. I'll choose a bit of lighter orange. I'll choose my round brush there. No, I will choose my scraped. Don't want it that big. I turn a little bit more reflected light and I wonder can a greeny, bluey background, would that reflect at all on the underside of the orange? So, alright, let's come on, let's do something silly. Let's try greens and turquoise is number three, which is more likely to work. But if I come to my orange, just add in one or two little touches of that and let's make this a bit bigger. Come on, if we're gonna do it, let's do it. Let's not be timid. And abandoning just a little bit of that reflected light there. I'm not sure that's working because it looks like I've scraped away part of the pastel, leaving the paper underneath. So I'm going to double tap a few times to get rid of that. There we go. Call my layers again. Now, I could just call up a color from the color picker, but one of the things about pastels is they are expensive. And what you've got here 180 pastels that would cost hundreds and hundreds and hundreds of pounds. So your choice of colors quite often is pretty limited. So you have to improvise, which is why you see in a lot of pastel drawings some colors that you wouldn't expect to see there. But hey, they're fun. They work. So let's try, let's try blues and cyans eight, it's a bright blue. I wouldn't expect to see it there in real life, but this is a pastel drawing and in fact, let's choose a round so it doesn't look like it's scraped just on the top. And I'll make it fairly large, but I'm just going to go very lightly with this just to add just a little bit of complimentary color into the shadow area. Even that was too much, very lightly like this. I am probably breaking the rules of physics here, but I'm simply doing it because it might look nice. Because I know there'll be a bit of a reflected light there if I'm doing that. Let's try a little bit of just here that's purples and neutrals. 29. I'm just putting a little bit there just to mix things up so that I get something which looks a bit more interesting then anatomically correct. Okay, so I've got my drawing now. I don't need my reference image anymore. I've used my meat tant brushes on a me tans paper surface so that the brush strokes look like they belong on that paper. But one optional tray you can do is you can take your meat tans layer, put your finger on it so it lifts up, come on, lift up. And then drag it all the way over the top of all the drawings. But underneath the palettes, I'll do a two finger tap to undo that. Look at the overall drawing. When I do, it was subtle, but if I do a three finger tap to redo it, I'm reintroducing the paper texture into those brush strokes, especially in those areas which I smudged earlier. And I made sure to set up all the paper layers so that you can vary the strength of the effect. If you decide to do this swipe to the left, come to unlock. Then where it says, oh, tap on it, you can see the capacity of the layer is about 60% and that means you can ride it, you can make it less, so it looks pretty awful or you can increase the capacity up to 100% So you're getting a very strong pastor effect there. How strong you want the paper texture to go, That is entirely up to you, like for that I like what it's doing with the surface of the orange, but I'm not so sure about that leaf. And overall, it's looking a little bit too strong for that. You can play with a blend mode now at the moment it's set to overlay. Soft light gives a software overall effect, hard light gives a very hard effect. Those are the three ones I'd recommend you play with. You do have other overlay textures like this, which is really strong, that which is practically obliterating the picture pin light ain't working. So for this maybe I'll go back to overlay as before, but I'll take it down a little bit so it's not completely dominating that leaf. I'll settle with somewhere around 70% And once I do that, come on, let's be careful, lock it again, because I only want that as a paper texture. I don't want it interfering with what's underneath. Now the very final thing, well, I've got an RN sitting there to the right, but I've got a whole load of empty space. I don't really want that. So sort that out. Come to your wrench icon, come to canvas, come to crop and resize. If I do that, you can see how many layers I've got available. I've got, look, I need it for my work. I've got an M Two ipad Pro here, so I'm going to get loads of layers to play with. But I've tried to strike a balance so that if you have an older ipad, you can still have layers with the size of these files. And you can print this out to a fairly decent size if you choose to print it out. But if you decide you want a smaller canvas to work with in the first place, don't resize the image. Come to crop and resize and do it this way to make a smaller paper like this. Because all the brushes you've got here have been specially designed and the textures have been scaled to work with a paper of this size. And if you make the paper texture bigger or smaller, the size of the texture inside the brushes isn't going to match up with your resized canvas. The little blobs that make up the paper test, you will either be too big or too small. It's all been carefully calibrated. Okay, so for a quick sketch like this, it took a long time. That's because I had to explain things as we go through so that you can get the best out of this set of brushes. If yours doesn't look like mine, that is fine. It's not supposed to. It's a free and easy sketch. At this stage, all you really want to do is to try and get it looking like a pastel drawing. And just to show you these images I'm showing you now, they were all done by me just while I was experimenting around with the pastels to see how they were working on the paper. And also to get enough experience with them that I could give you good advice while you're drawing. But you can see they were all done by me. But they're all different in some cases by quite a bit. For this, you don't get marks for accuracy like you would in this painting from the Solid Foundations course, for example. You're just getting marks for something that has a bit of energy. The colors play nicely. It looks nice. That's all you really wanted to do with this approach. And I'll see you in the next video. 7. Crop and Block in our Robin: Hello and welcome to the second of the tutorials. A couple of things to say. One, I have a terrible cold. I'm sorry about my voice being so croaky. And the second thing, I'm finding it almost impossible to talk and draw at the same time, not with this freer, looser way of painting. So I'm going to try something new. I've already recorded the video. I will add the sound over the top. Okay, so this is a file for you to work on. It's called Pastel paper, Robin. It is available for you as a download. I've already done the sketch for you. I use the same grid technique as I did with the previous video. I also chose a series of colors from little blobs of Joy, I think it was 07, the one with the gradients in there. And I've numbered them, so you can see where they came from. Also, you can see at the top, I created my own little gradient based off colors from the ones with numbers on. Because I thought I might need the transitions in colors going from that dark red to that fairly light orange. I think the orange might be a little bit too bright, but let's see how we get on with it. Okay, So the first thing I want us to do before we even start is to resize everything. The reason being is the paper that we're going to be using today is the pastel paper. One which is like, well, very fine sandpaper I suppose. But what I want is for the effect to be very obvious, I want the dots to clearly show up from the pastel paper brushes. But as we discussed in the previous video, you can't just resize the canvas because the brushes are designed to work with a certain size of canvas. And if you resize it, the dots of the paper aren't going to match up with the dots of the brush. So instead of that, you need to crop it down. I suppose it's the same thing as taking a sheet of pastel paper and cutting a smaller section out of it, and then drawing on that. So this is how we do it. We choose the layer we want to resize. And we come to the transform tool, which I'm circling now, And we come to a corner and just drag everything down, make it smaller, make sure uniform is selected at the bottom so we don't distort anything. Reduce the size, in this case just under half as big. Come to the layer with the colors on and reduce that down. And move it around to roughly where I need it to be. And yet I can rotate it if I want. It's just a series of colors so it fits better. Then when I've done that, I come to the top left wrench icon. I come to canvas crop and resize, I'm reducing the canvas size so it's a fairly close crop because I want the robin big in the picture so that you can see clearly what I'm doing. But not so close that it looks cramped and there we are and hopefully you can see that grit effect in the background is looking a lot bigger and a lot more obvious. That's what I want, but also I want to double check. So I'm going to come to my brushes. I'll choose one of the pastel paper brushes. And I'm going to make a few brush strokes in different colors just to be sure that the gritty effect I want is quite obvious. Because I want you to be able to see it as we're going through the tutorial. So I'll do a few experimental brush strokes now. Yeah, that seems to be working okay for me. So next thing I will clear that layer and oh, here's a good idea, let's get a reference. So we can draw from Come to a reference. And I have the photo I want in my photos app. Navigate to the. This will also be available as a download. And I'll just position a canvas and we should be good to go from our brushes. Come to DC Pastel 01, and we want DC pastel paper pastel. And the next thing we need to select some color. So use your finger, put it on the canvas, to invoke the Eyedropper tool, choose a color. And let's start doing a few broad brush strokes. Now I'm painting big here because I want to put down areas of color. The opacity of the brush is on 100% But I'm not pressing too hard because I want to try and keep the graininess of the brush. I don't want to press so hard that I get a solid mass of color. I don't want a little bit of texture in there. Now, as before, I'm going to be working dark to light. It just seems to work better with pastels. And if you think about it, it kind of makes sense. Take a look at the orange that we did in the previous exercise. Well, the surface of that is quite rough and it's a bit like looking at hills and valleys. At dawn, the light is going to catch the tops of the hills before it goes down to the valleys. So the top bits are going to be better lit than the bottom bits. And so in the case of the orange, you're going to find the high light areas appearing more on the raised bits of the orange. And so when you're working on some pastel paper, which is usually textured, it just makes sense to mimic the real world by having a darker layer underneath. And then the lighter layer brushed a bit of lighter over the top. So you end up with the darker colors in the valleys and the lighter colors on the tops of the hills, on the top of the texture of the paper. Oh, and one thing I should say at this point. I hope I've managed to give you something that gives you a pretty realistic looking pastel effect. But one major difference is, look, if I use pastels in the real world and then I start blending them together using my finger or a cotton bud or whatever you want to use. All the little granules of pastel are still going to be there, so if I put down, say, a black and then a green and then a yellow, I can blend them together and they'll still be little bits of black, green, and yellow in there. And they're all going to mix together no matter what I put on top. They'll always be there. But this is not a real world, this is digital. And it's a good idea to be aware of the differences and to respect them. And in this case, supposing I blend a red and a yellow together and I get kind of an orange color, what I'm left with is a load of pixels that are orange in color. What I don't get a little bit of a red pixel and a little bit of a yellow pixel sitting next to each other. No, once the orange is mixed in any one particular area, there'll be no trace of the original red or the yellow pixels. So you get permanent color changes. And I think that's why it's important when you're doing this, be aware of how hard you're pushing down with your apple pencil. And if you want to keep the pastel effect, often it's a good idea to just not press down so hard that you completely obliterate whatever is underneath. You want to keep the effect of those little layers of color. You can get very subtle built up effects with this. But you can't get to blend happy, let's put it that way. Okay, so for the rest of this video, you're just going to see me put down broad areas of color using the color swatches to the right. So what I will do is I will speed up the film a little bit. I'll add some music in the background just to let you know that there is some sound there. And then I'll fade out. And then I'll see you in the next video where I want to double check my dark to light values because that's what's defining the form of the Robin. And maybe just start adding in a little bit of extra detail. So I'll shut up now and I'll see you in the next video. 8. Using the Daub Brushes: Okay, so I've got my basic colors in place and I've got my basic dark to light. I want to add some more detail. And if I take a look at that photo of the robin, there's a lot of very fine feathers in there. I'd like to suggest something like that. But at the same time, it looks like a whole lot of work. So I want you to come to the brush library and select DC Pastel Dubs, because sometimes you'll find people who are working with pastels. We'll make a series of short brush strokes that criss cross each other. Or a series of short brushstrokes that follow each other round a contour of something like the breast of a robin. And so what you've got with these daubs is a whole series of brush strokes which you can use to very quickly build up a textured surface. And let me show you what I mean. I'm going to come to DC Pastel daubs thick and I'll check the opacity. I want that on 100% As for the brush size, well, I've got a couple of markers here. I'm going to go with about 13% Now let's make one or two brush strokes choose color and okay, that's gone too much, I will knock that back and just basically make lighter brush strokes. Okay, I've got an M two ipad and so I do get that little brush preview that you're sometimes seeing. It is useful, but it only really shows up on the most recent ipads. So if you don't see it, don't worry about it. Okay, so what I'm doing now is using a number of different colors to build up the form, to carry on building up the form of the robin, but also I'm doing it with some texture. And the beauty of this brush is that I can build up quite a complicated texture really quickly and easily because I'm putting down multiple brush heads at once which are all going in the same direction. Okay, I'll quickly access my arrays tool just so I can clean up some of those brush marks that went beyond the border of the Robin. Okay, back to my paint brush. I'll make the head slightly smaller and I'll do a little bit of slightly finer work, which means the individual daubs that make up the brush stroke are a little bit smaller and you know what, Rather than having to go through four different categories of pastel brushes, if I come up to the top and I select recent, these are all the brushes that I've used recently. And you'll often find, like with this picture, you tend to cycle through the same brushes to create the look you're going for. So don't forget with the brushes. Once you've been painting for a while, chances are you're gonna find the brush you want there rather than playing hunt the brush. Okay, so I'm back to my pastel paper pastel brush. I selected it from the recent tab, and looking at the picture, I decided that I need to make the darker areas darker. And if you're doing the technique, which we're doing now, which is lighter brush strokes over darker brush strokes, sometimes you're going to have to put down a darker based tone than maybe you're comfortable with. And in that case, you need to keep telling yourself, look, I'm going to put a lighter tone on top of the colors I'm putting down now. So I guess I'm repeating the advice I often say to people when they are starting out. Don't be shy of making things dark. This is digital. You can completely draw over any brush stroke you make with any color you want. And this style is supposed to be quite a free and easy, expressive way of doing things. And you have the two finger tap to undo things. And so I'm not saying be reckless for the sake of being reckless. What I am saying is try and get into the frame of mind where you're just, you're having a bit of fun and you're concentrating on what you're putting down, but you're not worrying too much about what you're putting down. Take a few risks, play a few games with this. And if you push something too far, for example, with this, if I suddenly decided, oh, that's too dark, instead of just erasing it, I'll think to myself, well, what color can I put on top of that? That's gonna make it work? And that way you get to explore a new way of doing something that helps you with your creativity. And then you add that new way of doing things to your skill set. You get better while you're having fun, which seems a pretty good way of doing things. Okay, so I've put down my darker areas and I don't want there to be too much variation in there because I want the variation to come when I come back to my door brush and for this I'm using DC pastel daubs medium, which is a little bit thinner than the previous Or brush. And I start to put down lighter areas on top of the dark. And if you take a look at the photo of the robin next to the illustration, that's very similar to what's happening in the photo. Lighter areas over dark, especially with things like fur with feathers. Pretty much any rough surface really. Okay, I'm going to speed this film up a little bit so that you don't fall asleep. And the brush strokes that I'm doing, I'm trying to take in the direction of the feathers. If you notice, I'm going round, I'm going up and over the Robin's head. If I was to try and make brush strokes any other direction, it wouldn't really work. Okay? I think that's most of what I wanted to say. If I think of anything else, I will stop the music. But for now, I'll just let the video carry on playing. And you can see how I use that dubs brush to gradually build up the form, but also to give an idea of the feathers of the robin. And unless you hear from me again in this video, I will speak to you in the next one. I'm going to be using some layer blend modes to work some more on the darkened light of this picture. So I'll see you there. 9. Darken and Lighten with Blend Modes: Okay. So, as it stands, I've done quite a bit of brushwork here, but I think the Robin is still a bit too flat. It needs a little bit more dark and light in it. So my question is, how can I get darker and lighter areas in there without having to go over and destroy all that brushwork that I did in the previous video? And the answer to that is going to be layer blend modes. So let's see how that works. I'll open up my layers panel. I'll create a new layer. Oh, before I do that layer that I've just been drawing on with all the finer brush work, I'm going to tap on it and I'm going to choose clipping mask. And what that means is I'll only see brushstrokes on that layer wherever there are already brushstrokes on the layer underneath. If the layer underneath is transparent, I can't draw on my upper clipped layer. That means I can go right up to the edges of my robin with any size brush and not worry about brush strokes going beyond the outside of the robin. Okay, so I'll come back to my layer six. I will make that eclipping mask as well. And then I'm going to come to the little n which I'm circling now, and tap on it. And I get all the layer blend modes I am going to choose multiply. And when you set a layer blend mode to multiply, it's going to affect all the layers underneath it by making them appear different kinds of darker. And the darker the color you put on this layer, the darker the colors will appear on all the layers underneath. I'm also setting the capacity of the layer to less than 100% In this case, around about 70% The reason is, once I do everything I want to do with this layer and make things darker, I may decide I want the effect to be a little bit more subtle so I can reduce the capacity. But if I wanted the effect to be more extreme, if the capacity was on 100% I'd have nowhere to go. So if I set it to about 70% and I decided I want a stronger effect later on, I just increase the opacity slider and I'm good to go. Okay, well, I'm sure that was all completely understandable. Let's show you this inaction. I'm going to choose a paint brush. I want a simple brush. The reason being is I want to affect the look of the brush strokes that are already there. Rather than creating new textures on top of them, I just need things to be darker. So I will choose from DC Pastal extra DC Pastal Soft. I'll choose a darker color. And I'll zoom in a bit on this so you can see more clearly what I'm doing. I'll set my pasty low because I want to gradually build up the brush strokes rather than all in one big sweep. Set my brush size to where I want it and look at the right hand side of the robin. You know, some building up brush strokes to make things darker. Also, one thing I hope you'll notice as I'm working is that the underlying brush strokes and the texture are still there. They're just getting darker. That's what the multiply blend mode does if the layer blend mode is set to normal as I built up the brush strokes and obliterate the brush strokes underneath. But the beauty of layer blend modes is you can still see all of that texture underneath, but the whole area is getting darker. And that is one of the big advantages of digital art. Oh, and if you're a photographer, what you're looking at now is how you do dodge and burn in a program like photo sharp or affinity photo. And like dodge and burn. Sometimes you don't realize how much of a difference you've made until you see before and after. So let's do that. Let's come up to our layer, make it invisible for a second. That is, that is after just look at the difference. Okay, so that's the darker side. What about the lighter? Create a new layer. And this time we're going to set the layer blend mode to screen. If multiply makes things darker, screen makes things lighter and like before, we're going to adjust the capacity to around about 70% so I can make the effect more as well as less intense later on. Okay, I'm going to choose one of mid oranges from the breast of the Robin. And I can do that because the layer blend mode is set to screen. So if I take a color that's the same as the color underneath, but I add it on the layer set to screen blend mode, that area will get lighter and you can see that happening right now. Okay, I'll choose a more neutral color so that I can work on the desaturated areas of the robin without sticking an orange tint into the highlights. Let's see what I can do. Hopefully, as I work, you can see I'm making certain areas lighter. But as I mentioned, I'm not destroying the underlying detail of the feathers. Okay, as before, let's do a before and after. This is before, this is after. I'm not sure about the highlights, so I'm going to rock the opacity slider backwards and forwards a few times so I can decide how intense I want this layer to be. Yet another advantage of doing digital art. You can vary the intensity of any layer. All right, so let's zoom in a little bit because I want to start putting in some details, especially around the eye and the beak. Okay, so let's take a quick look at my layers panel. What layer do I need to be on? Let's remind myself, yeah, I want to be on layer four, the base layer, and I can make changes here. What am I going to use? Dc pastel. Paper pastel. And I just want to put in some details now. The multiplier layer which made things darker and the screen layer which made things lighter. I'll be sitting on top of the layer I'm drawing on making things darker or lighter. But actually that's quite easy to work with. I just pick the color I want, start to make my brush strokes, and I'm adding in some finer detail here. And there does come a certain point where I want to get in the important details. And in the case of this or any animal, human or whatever, if there is an eye in there, the eye is the important detail. So if I'm going to concentrate on any one particular area, it's going to be around the eye area. So let's put some stuff in there. I've got a little bit of prostrokes on the layer above, which I think I'll have to erase. But for now I'm just blocking in a dark area to form the basis of the eye. Once I've done that, I need to find the layer that's got the extra prostrokes sitting on top of the eye. Just by making layers visible or invisible. And when I find that layer, select it, I come to my arrays tool and I just raise the price. Strokes that I don't want. And do a quick visible invisible on the layers just to see what's on what layer. When I've decided to do that, I'm just going to come back to the layer which I'm putting the black of the eye on, and just build up a little bit. Let's zoom that out. Let's take a look at that. Okay, yeah, now I think I'm ready to add some more detail which we will do in the next video. 10. Adding Detail: Okay, so we did our sketch. We've added in our broad areas of color. We put in a nice bit of texture using the daub pastel brushes. And we were able to further enhance the dark and light of the picture using the layer blend modes. This video, we're going to take a look at the detail. Now I want to check out what's happening with the sketch layer by making it visible or invisible. Because I think in some places, especially in the areas with less detail, it's helping hold the picture in place. But for the areas around the head, for example, I think the sketch layer could do with being hidden. It's going to be a bit of a distraction. But anyway, I will focus in on what I'm doing. Whoops, I do that. That was a mistake. Make my picture a little bit bigger. Which layer? I R layer five. I want DC pastel, paper pastel. I think for this, but brush size pretty small because we're working in fine areas of detail. Choose a color because I want to work around the eyes. The size set, 3%, let's see what that looks like. At the moment, that might be a little bit too orange. I need something lighter. Do that. Chose a lighter orange. And then just start, well, scribbling, drawing around this area because I want to make the overall area brighter as it appears in the photo. So choose another color. Play around the size a little bit, just so I get the look I'm looking for. Yeah, I think that's working for me. Now, you'll notice with this, I'm drawing over the eye. That is not a problem because the eye is on the layer underneath. All I do is make my various different pros strokes get the overall tone right. Then I can start erasing this new area of light orange. But I can do it creatively to try and bring out some of the form of the Robin. And I'll show you what I mean by that in a couple of minutes. Okay, I'm just going to carry on drawing and speed this up a little bit so that you don't die of boredom. Now I'm going to get to the arrays part. I choose a razor, DC pastel paper, pencil size 4% I'm just going to knock back some of those brush strokes I made so that the underlying eye is there. But now look what I'm doing. I'm making a little marks and raising that line underneath, because if you look at the photo, it's like a dotted line going around the underside of the robin's eye. Rather than having to do little dots by little dot by little dot. Making the line then erasing bits out of it gives me a lot more consistent line. Okay, back to painting again. Choose a color. What brush shall I use? What am I using? Dc pastel. Paper pastel. And I'm going to smudge this, I'm going to use DC gritty smudger size, fairly small. And I just want to blend out that area of orange just into the slightly grayer areas towards the back of the bird's head. If this was the real world, this would be the point where I'm either reaching for a cotton bird or a blending stump. You wouldn't do it with your fingers because your fingers would be too large an object to do this fine detail painting. And let's sample a color. I'm going to need something a little bit more grayish, so from around a bird's head. And I want to put a high light into the eye of the bird. And this is the point where any painting with an eye suddenly springs into light. I'm using the layer above my main colors layer. And look, I know in the photo it's a smooth highlight. But this is supposed to be a pastel drawing that's not giving me what I want. So I will undo a few times and start again because I want to get this right. I'll use DC pastel paper pencil because I would be pressing down a bit harder at this stage because I'm working in fine detail and one, a definite highlight. I'll choose a slightly darker gray for that high light behind the main highlight. Then sample a light gray. I'm still sampling from the picture, not from the palette at this stage. I want to get my colors from the picture to get it looking consistent and put in that main highlight, and all of a sudden that bird's got a personality. Okay, I want to carry on working on the eye and adding a few more highlights on the eye itself, plus also around the outside of the eye because it does still feel to me a little bit stuck onto the body rather than part of the body. And I think adding a few of the extra highlights is going to help it blending. Like just in the corner here? Yeah, I think that highlight is starting to make the eye sit better against the body. I think I need also a little bit around the outside as well, because some of the highlights aren't quite highlighted enough. So I've just sampled a lighter yellow and I'm applying that now. Yeah, that's starting to help bring the outside of the eye forward a little bit so that the eye itself gets pushed back into the head of the robin, which is what I want. Also just a few extra highlights around just to break up that slight C of a light orange around the back of the eye. You'll notice when I'm doing this as well, I'm not choosing for my color ballet anymore. I'm choosing colors directly from the Robin itself. At this stage, that's what I should be doing. Okay, so now carry on. Sampling some colors and adding a little bit of fine detail in the area. I don't want to concentrate on just the eye and ignore everything else. Otherwise, I'm going to end up with a picture with a huge amount of detail just in the eye area and everything else. By comparison, it is just a loose sketch that would look a little bit odd. What do you find? People tend to do is to put detail in the areas that interest them the most. That is usually the eyes, the nose, the mouth. And as they start to move away from those central areas, you can almost hear what's going on inside their head. It's something like, I enjoy doing the eyes, I enjoyed doing the mouth. The nose was okay, the ears are okay. But there does come a point where you've done all the fun stuff and you're starting to get just a little bit. I've done the fun bit, let's finish off the picture and move on to the next one. And so you do find the detail starts to get a little bit less as you move away from the main focal areas. And you are certainly going to see it on this picture for two reasons. One, the aim of this picture and this project is to give you something that looks like it's been drawn on traditional pastel paper, using traditional pastels. And trying to get inside the mindset of someone who's doing the drawing. And the other reason is I'm the same as everybody else, I've done the interesting bits and I'm going to start to get bored towards the end. So there you go. Authentic looking pastels and authentic looking thought process. But okay, now I'm working on the big, because if I've done the eyes, then really I should do the big to a similar level of detail because it's in the same area. And I think what I'll do at this point, I'll speed things up a little bit. Because if you do speed it up, but not by too much, it can help you see the process rather than looking at all the individual brush strokes I'm making. So okay, let's speed up now. And at this point, I decide, okay, enough detail on the head. Don't do what I have a habit of doing, of drilling down into as much detail as I can get out of the picture. Because for this and most modern pastoral styles, that's not what it's about. It's about color. It's about seeing the brush strokes. And yeah, you can have detail, but I want to try and keep it a little bit fresh, much more handmade than a photo. So now it's a case of just adding in pencil details. I'm using a fine brush and I'm starting to zoom out a little bit. I think I need to do that because the more you're zoomed in, the more obsessive you're going to get about the detail. And you'll notice that a lot of the brush strokes I'm putting down are lighter than what's underneath them. That's to add a little bit of texture, a little bit of highlights. On the other hand, the darker brush strokes, that's what I'm using to define the form of the robin. Like around the back of the wings for example, I think it needs a little bit of dark in there so that the whole area doesn't become a shapeless mass. But there'll also be room for some highlights in there. So that's the two things I'm doing here, making the form a little bit stronger but also lighter bits to add a little bit more texture and a bit more interest to the picture. You will also notice, most probably, as in going along, that I've kept the detail in the upper areas. And the further I go down the body, the more sketchy the drawing becomes. And as I've already explained, that just naturally tends to happen. So I realize I made a statement inside my own head. As I'm working, I've decided I'm going to concentrate on all the fun bits, all the character bits, all the bits that people are going to look at anyway. And I'm not going to spend too much time on the bits that are further away from that. That is the feet, that is the branch looking at this picture. People are naturally going to look at the eyes and the beak in the head, but there's also a huge area of orange because it's a robin, and that's what Robins have. And so, I'm going to spend just a few minutes putting in some finer brush strokes on the chest of the Robin so that people have something to look at. I'm not making parallel lines, not all the way down. In some places I'll make little V strokes where the lines gradually go in towards each other. Because I think that's a good way of representing the feathers and the slightly roughened up nature of the chest. And I'm using a mix of dark and light strokes. But the main thing about this is, if you remember a couple of videos ago, I used the du brushes to quickly create a brush texture. Now my job at this point is to add a little bit more interest to that area, but to make sure the new brush strokes I'm doing look like they were done by the same artist who did those texture dub brush strokes a short while ago. What I don't want is a certain kind of texture in the background and then a completely different kind of texture on top of it. I need to marry the two textures together. Anyway, look, I think I'll call it a hold here and in the next video, let's finish off this painting, Titi. 11. Finishing our Robin: All right, so I've got to the stage where I want to just finish this drawing off. I've got all the major detail in there. And I think the first thing I'll do is I think I'll add a very simple background instead of having just the plain paper. Now you do see people on the forum saying, well, I'm not very good at background. So here's a very simple way. I'd say the main color of this picture is that orange of the chest. So open up our layers panel and I want to create a new layer just on top of layer one, which is where the sand paper is, because I want the background to be behind the Robin. So I sample the orange. Then I come to the color panel and I have the disc selected. And you can see the orange I've just selected. So now what I'm going to do is come halfway around the outer circle to get the complimentary color. Now that color is going to be way too saturated for my purposes, I would just want to sample sky background. So I come to the inner circle and I drag the inner reticule to the left so that I come to the less saturated versions of that blue. So from there, choose a brush. I think DC pastel, paper pastel will do the job. I want my press size very large and I just lay down a few strokes of blue just to act as a sky in the background to break up that sea of sand paper that I have in the background. Then come back and I'm going to choose a slightly darker, slightly more saturated color. And put that down towards the top of the picture. Then come back and choose a very washed out, very light version, almost white. And put that underneath just to break up the field of blue so I have different shades in there. I'm just tapping down various different brush strokes because I still want to get the texture of the actual paper represented in those brush strokes. Okay, so the next thing, open up my layers panel again and I want to make my sketch layer visible because I used one of my pastoral pencils to sketch it. I'm wondering if some of it can be used on the final image. And I'm looking at it thinking, yes, it can, especially around the outside. But I want to experiment with this. And by experimenting, I mean I want to make certain parts of the sketch layer invisible. But I also want the flexibility to make the layer visible again, if I decide that actually I do prefer the sketch in that place. Now to do that, I'm going to use a layer mask. So I tap on my layer and I choose mask. And the next thing is to choose a brush. Now for this, I don't want a textured brush. I want a simple brush that can make things visible or invisible without any texture in the way. So I will come down to airbrushing. It comes with procreate, and I'll choose a medium brush. The next thing I need the color black. So I come to my color panel, I'll choose from the Classic. I find it easier to choose a dead black from there. For my brush, I am going to make sure the size is a reasonable size. Take the capacity down so I can build up my brush strokes. Now you're seeing what happens here. When I paint in black on a layer mask, you make any pixels that you brush over invisible. So what I'm doing is I'm going round and making various parts of the sketch layer invisible to see what works were. Now I think on the branch, yep, the sketch layer is helping disguise the fact that that's just a few blobs of brown. But now what I'm going to do is I'm going to choose white. And I'm going to go back round. Because the nice thing about layer masks is if you paint in black, you make things invisible. If you paint in white, you make things visible again. A layer mask is just simply a layer which sits on top of another layer and make things visible or invisible, you paint in black. You make your layer invisible, you paint in white, you make it visible again. And so now I can go around and check the various different parts of my image and decide where I want this sketch to be. But now I can play some more games by coming to my sketch layer itself. Not the layer mask the sketch layer and choose alpha lock. Now that's on. I can only draw on that layer where there's already pixels. Now what I'm going to do is select the color. And I'm going to draw on the sketch layer so that instead of the lines being a charcoal black, they're orange. And I can get a little bit of a reflected light on the right side of the robin that work there. Let's see if that works in any other area. So I'm going to select some colors. Yeah, I'm just around the claw areas that's helping bring the claws out in a very light and sketchy way. What else can I try? Let's try a little bit of blue. And try a bit of blue just on the left side or the robin on its back to get the idea of some light bouncing off the back and the head. I can draw over this as many different times as I want just to try and bring a little bit of life and interest to the outline of the Robin. Okay, so the final thing I'm going to do is open up my layers panel again. And I'm going to drag the paper layer up above all the other artwork. Just so I can re establish a little bit more of the grittiness of the paper. And I'll get rid of my reference, I don't need that anymore. Zoom in and then open, take a look at layer one and take it underneath that's before, take it on top, that's an after. And I think I prefer that it's re establishing some of the texture of the paper. But I'm going to unlock it. I'm going to tap where it says, oh, and I'm going to play around with the apacity because I'm wondering how strong I want this effect to be. The original 60% was a little bit strong for me, so I'm taking it down by about 10% to around 50% And quick thumb and finger swipe inwards to get the finished, Robin. Okay, so there's a whole load of pastel papers, a whole load of pastel brushes, three pastel palettes, a Quick Start tutorial video, plus how to download all of those assets, plus a couple of projects to show you how the paper and the pastels are intended to be used to get the best results possible. Okay, so thanks for watching. I hope you'll take the time to check out the various other procreate classes I have. And in the meantime, I would like to see a few Robins on the various different forums so that you can show off just what you can do with a procreate Pastel masterclass. Take care and happy drawing. 12. A Procreate Primer: Okay, now this video is just a very quick primer for procreate. It's just in case you've never used the software before and you don't know where anything is. It's more just a quick tour of the interface. If you need more of an introduction, then I have procreate the fast guide or procreate solid foundations. And both courses have got very nice reviews. Thank you very much for that. Anyway, let's get started. There is your procreate icon. I'm circling it now. And if I tap on it, the first place you come to is the gallery. And you can see various bits of work I've been working on Now, yours will look different to this because if this is the first time you won't have created anything yet. And so you'll just get the sample images that come with procreate. Anyway, come to the top right. There's two icons there I want to show you. One is import, if I tap on that, that's where you can load up various files that you may have downloaded from the Internet or from one of my courses. But I'm going to cancel that because instead let's create a new file for you to work on. To do that, come to the plus sign and tap on it, and you have various different presets that you can load up. Let's just do this as simply as possible. The very top one where it says screen size, tap on that and you get a new file. If you take your finger and thumb and you pinch it inward, you can resize it. You can rotate by moving your finger and thumb around. And let's just move that to there. Great. You've got a file, you want to create something. And to do that, you come to the top right, You've got 12345 different icons. Let's show you what they do. The first one is the brush icon. If I tap on that, you can see you have a whole load of different brushes. What you're looking at right now are a series of pastel brushes, which I'm working on for a new course. But what you will have are the brush sets that come within procreate. If I come down to where it says sketching and I tap on that, there's various different brushes and you have a whole load of different brush sets which have brushes in. Okay, so let's choose one. Let's try Nico roll, tap on that. Okay, so the next thing is I need a color to do that. Come to the very top right where you can see that yellow circle, that is my currently selected color. If I tap on that, I have access to various different colors and I have various different ways of choosing the colors. If you come to the bottom, you can see I have palettes highlighted in blue. Now, these are various different squares that you can get. So if I tap on, say, this red, I can draw with that. If I want to choose a different color, tap again in that little red circle. And you'll notice whatever color I choose, that little circle in the top right changes to that color. That lets you know what your currently selected color is. Tap away, and there you go. Now at the moment, I'm not very pleased with that. It's not a work of art. I want to get rid of it. So take two fingers and just tap. That's two finger tap. Once I'll tap again and you can step backwards through the brush strokes that you made. If I then realize actually that was a masterpiece, I can three finger tap to redo, three finger, redo two finger tap to undo. And if you hold down two fingers on your ipad just for a short while, start to rapidly step backwards through the undos. Hold three fingers down for just a short while and you'll rapidly go through any redo. All right, back to these colors. I have palette selected at the bottom. If I go through these where it says disc, tap on that and you end up with a disc. And you can see around the outside, all the colors of the rainbow. And I can move this around, so you can see I'm selecting greens, yellows, oranges, reds. And these are quite intense reds, because that circle in the middle, that controls how intense the color is. And you can make it much less intense and lighter, or much less intense and darker. You've got your full fat red there. You have darker versions down here. You have lighter versions across here. But as you go across, you get less and less saturated colors. You can see that is a very desaturated red. It looks like a brown. I can move it back towards saturation, and I can move it here to achieve more of a pink effect. That's the disc, the classic. This is my favorite when it comes to selecting colors. You've got all the colors of the rainbow laid out on a slider here. And you can see the full fat color is in the top right. Darker versions of it are here. As you go down, as you go towards the left, you get less and less saturated colors, until eventually you end up with gray, white, black. Any color is available to you. And if you want a little bit more control, rather than dragging this around, you've got your hue slider here. But underneath you have your saturation slider. And you can see as I move it around, that little circle in the big block of color goes side to side as well. I also have my value or my brightness slider at the bottom. If I move that, you can see my little circle in the square goes up or down to get lighter or darker versions of my base color just underneath that. You have your history, which is all the colors I've chosen recently. Then the harmonies. You have lots of different modes here, split, complementary. I'm not going to get into all of these. These are just a way of choosing things according to color theory. You can move that central reticule around like this and you can control the darkness or brightness of it with this little slider at the bottom next to that value. Well, it's a computer, and any color has a numeric value. Those three sliders I was talking about, the hue slider, we look there's a value, 193 degrees, 73% saturated. Now it's 46% saturated and 75% bright. And I can adjust it that way. Also, you have red, green, and blue sliders, and you can achieve lots of colors that way. And finally, we get back to palettes, and let's choose a color again, that nice red. Let's come back to our brush tool. There's my brush library Nicarolas selected. Did you notice that it seems a little bit small and it's not quite as intense as that color I chose in the top right. Well, the reason for that is because of these two sliders on the left. The top slider controls how big or small your brush is. And you can see the brush slides getting bigger or smaller. That's what 39% 40% And yeah, sure enough, you can see the brush is bigger, but it's not very intense. That is because the bottom slider controls the opacity of the brush, and at the moment, it's set really low. If I take it up to 100% I draw now, oh yeah, you can see that's a much stronger color if I take the opacity, so it's way low. You can see that I can gradually build up the brush effect more subtly. At this point, I should say these two sliders learn to use them and learn to vary the opacity a lot. Learn to vary the size a lot, because then you get small brush strokes, you get bigger brush strokes, and you vary your work. And if you alter the opacity, you can build a much more subtle effects. Let's choose another color for this. Let's choose a nice, not very subtle yellow. And crank up the opacity and the brush size. There, there you go. Two really subtle brush strokes. Now, supposing I want to get that red, I was just using, Well, that's okay if I just press and hold my finger up in the top left where the little color circle is. Just hold it for a couple of seconds and you'll get the last color you are using back. Okay, that's our brushes. But you can do one of three things with every single brush in the brush library. You can paint with it like we've been doing. But if you come to the icon next to it, which I'm circling, this is your smudge function. And if I tap on smudge and come down to painting again, there you can see I have nico roll. But this time instead of painting with it, let's come to that border. I'm zooming out by dragging outwards with my thumb and finger. Let's come to that red and yellow border. I made my brush size a little bit smaller. And if I just rub along that border, can you see what's happening? I'm smudging like this, and I can blend different areas of color. If I come to a different brush, let's let's come to airbrushing and choose one soft airbrush. I make my brush size larger because the brush size doesn't stay the same no matter what brush you select. I chose a different brush. So now I have a different brush size. If I come to that same area and I start smudging, can you see I'm getting a much smoother blend. The soft airbrush is a very soft, simple blending tool. All right, so that means we can create brush strokes with the brush function. We can smear the brush strokes around much function. But we can also erase brush strokes using the eras function. Again, it is the same brush, but this time we're using it as an erasor. Let's do this. Let's take the pastor right the way. Let's make our brush size any old size. And there you go. I have now erased the paint strokes from that area. And this is a very important point in traditional media use an erasor on a piece of paper. You can always see a bit of pencil left over and the paper has been flattened where the brush stroke was. But this is not traditional media, this is digital. If you rub something out, it's gone. There is no trace of the brush stroke to finger tap, to undo the arrays or anything else you've put on your canvas that was 100% opaque. If I take this down to a much lower pasity, say around 33, 34% I start building up. You can see I'm gradually raising in this area. If I make repeated brush strokes, or I press pretty hard, I can vary the brush stroke. Here's another nice thing, if I come to textures, let's try Dove Lake, my brush size 6% My pasty is about halfway. And then See that I'm raising, but I'm getting the pattern that the brush makes as part of the erasing process. So you've got lots of different ways to paint. Lots of different effects when you smudge, and lots of different effects when you erase. All right, I'm going to pinch inwards to see more of my canvas. Now the one icon we haven't looked at is this one with like two squares in there. I'll tap on that. This is my layers panel. You can see I have something called a background color and layer one. All right, well, let's take a look at background color. If I tap on that little white rectangle that is the layer icon for background color, well you can see I have my colors open up again and I can choose whatever color I want for the background. That's useful, let's make it lighter. But for my layer one, if I tap on the little icon which I'm circling now, I get a whole list of options I can rename it, which is always a good idea if you can remember to do it. And I can do various things to it. Like for example, if I made a mess and I just want to get rid of everything, I can clear it. Two finger tap to undo that and bring back what I've got. But what I'm about to show you is something I've seen a lot of beginners not do, which is a real pity because it's very, very useful. Come to the plus sign at the top right, tap on it and I get a new layer, layer two. If I come to my paint brush, let's try Oriental brush, and let's try any color at random. Let's just try green color so it stands out. And brush size is big enough and I can draw that's not standing out very well. Let's try upping the opacity. Yeah, that's better. And yes, I know it looks like a mess. But here's the thing. See that little tick mark right where I'm circling that is a toggle switch. And if I tap on it, the layer becomes invisible. Tap on it again, it becomes visible again. See the little ensign next to that? If I tap on that. Well, they have a whole load of things called layer blend modes. We won't talk about those, but you can see I have Apacity. It's a slider. And I can make this top layer completely invisible, partially visible, or fully visible, and everywhere in between. If you decided what you did was nice, but it's in the wrong place, well, look at this, Come to the top left and look at this icon with the arrow tap on that. I get a box around everything on that layer where there are pixels. Because at the moment we're using our transform tool and look if I tap anywhere. Normally it's an idea to go on the outside and move around. Look at that, I can move this. What's more, you see that little green circle on the top which I'm circling. Now if I tap and drag that, I can rotate this around like this. You notice you get an elastic line. If you want to move it very subtly, drag the green line out. And you can move things very slowly like this. If you want to move it fast, take the little green elastic line around and look at that. All right, we've got different modes here. At the moment, I'm in uniform, which means I can resize it as well as moving and rotating. But if I come to something like free fall, I can stretch it like this. If I come to distort, I can take just one of the corners and move it out or in, like this, as well as the corners around the side. You want to do a quick bit of simple perspective, you can do that. If you come to warp, I get a grid drag where the lines cross. I can warp this. If that's too much, I've got a reset button down the bottom. Let's just quickly walk this around like that and say I tap on my layers icon that's now committed. The changes I've made are permanent unless I hit undo. Now let's come back to layer one and the next thing we're going to take a look at is this looks like a little S shape, it's the selection menu. Now remember we're not on the layer with a green scriggle. We're on the layer with those big red and yellow marks. And you can see at the bottom I have various different ways of selecting areas. At the moment, I've got rectangle selected. If I come here, drag out a box, you can see where I've dragged a box, that area is clear, but I'm getting these little moving lines which let me know that wherever there are moving lines, it's not selected. If I then come back to my selection tool and let's just come back to, let's try free form. I can move this whole area around wherever I want it to go. I can stretch it like this. And once I'm happy with that, I can just tap on, say, my selection icon again. And that gets committed. If I come to my selection tool again, you've got other things like free hand. And if I drag out an area like this, if I come back round to where that little white dot is, tap on that little white dot. I now have an area selected which is a free hand shape. So that is the select tool, various different ways to select things. Next to that I have my adjustments. I don't want to get into these too much because there's a lot to cover. But suppose when we come to hue saturation and brightness, I can take this entire air and change the hue and swap it around. Can you see that when I do that, the red is getting more pinky and the yellow is getting more orange because every color is being shifted around the rainbow. I can also alter how saturated it is, like completely gray to pretty bright. I can also alter the brightness as well. You can alter the entire layer, but come to the top in the middle, where it says hue saturation brightness. But if I come to this little triangle which I'm circling now, instead of working on my layer, I'm now going to work using my pencil. And you can see my little brush icon has now turned blue and it's got little sparkles there. And what that means is, let's choose something. Let's try wild light. That sounds dramatic. Check my size. The capacity is up full. I'm going to paint in a certain area like this. You notice how I went underneath that green area? That is because the green paint stroke is on the layer above. So my little brush stroke gets hidden. I've painted with this, but I can move the hue around and change this color, the saturation and the brightness just in that area. If I take my capacity down on my pressure, make my brush size larger. For example, paint in a different area, you can see I can gradually build up the effect like this. If that's not enough. Look, if I tap on my erase tool, I can erase these brush strokes while I'm painting in this mode. If I come to my smutchtol, I can blend the effect I'm doing whilst I'm using hue saturation and brightness. Tap again on the adjustments icon to commit to that. But you can see I have a whole load of different adjustments and I cover all of those on the solid foundations course. Okay, so now the one final icon is this little wrench icon, which is your actions icon. This is where you come if you want to add something like inserted file. Okay, let's do that. Let's come to palettes and I'll load up blobs of joy 01. This is something I created for the water color course and it gets loaded into its own layer called inserted image. Now at the moment, I don't want it in the middle of layer one, layer two. So if I just tap and hold, I can drag it up to the top of my layer stack. When I do watch, that green brush stroke suddenly gets placed behind those little blobs of joy. Because what'sever at the top of the layer stack covers up whatever is underneath it. Things like layer two and layer one. Now supposing I like that layer, I can lock that layer so I can't draw on it or I can unlock it. Supposing I don't want that layer at all, I can come to delete and get rid of it. Supposing I want to keep the layer, but I don't like that green brush stroke. I can clear the layer, various things you can do. Quickly, coming back to our wrench icon, you can add various different things. You can, you can copy canvas. You get various different assists, which is beyond what I want to do here at the moment, if I decide that my little maroon and orange blob with cutout is a masterpiece, I share it and I can tap on procreate Jpeg. If you're going to place it on the Internet and you can export it, I'll use airdrop tap on my Mac. It gets exported. We're good to go. You can also export videos. That's probably the videos you've seen on the forums, preferences. That's more than I want to get into. And Help, Well, what we're doing right now is the help file. That is a very basic walk through for procreate. And it's just there to give you a quick head up so that you can follow along with this course a little bit more easily. Go back to the course, go and have some fun, and I will see you in whatever video you land on. 13. Downloading Resources: Okay, so the first thing, downloading your resources, I'm looking at one of my other courses that procreate Watercolor Master class. But the same principle holds true for every course. The first thing is I'm using Chrome on the ipad. Safari can be a little bit problematic sometimes. I've never found Chrome to be, so I'm using Chrome. And so quite a few lectures have resources you can download. In the case of udomy, there's the side bar on the right and you can see these little boxes saying resources on other learning platforms. There may be a section where you can download various links. So in that case, you click on the link and the file downloads, but in this case I'm using udomy. All I do is just tap where it says resources and I can see any files that come with that particular lecture. And so all I need to do now is take the top one DC Water killer line brush, set tap on that. You can see at the bottom, it's asking me what I want to do with it. So I'll tap where it says download it. Downloads Then it says, what do I want to do with this? I'm going to come to open in, then I have this option here, save to files, tap on that. I do recommend if you are saving to your ipad, every ipad has an icloud drive. Download it to the icloud drive. Just find a folder where you want to download it to. I'll put mine in temp for now. And you can see there's a few other files in there. Tap on save, and then that's ready to go okay for the next thing. This step is not strictly necessary, but I'm just trying to make it as simple as possible because a few of my students in the past have had one or two problems with the ipad. There is an app called Files. I'm circling it now if I tap on it, various different locations here on my ipad or icloud drive. And what I did earlier was to get all the course files for the Procreate Pastel master class. And I put them in a folder inside my procreate projects. Let's go down Pastal master class. And you can see I have various files here, some of them are Zip files. Let's come to the first one, DC Pastal 01 brush set. All I do is tap on it. It has to think about it. And there's the brush set. Now what I do is I go through all of the files like this. Just tapping on them should unzip them. Okay. So I've just unzipped all of them and you can see at the bottom, it's just finished syncing all the items with the cloud. Now, those zip files, I don't really need them anymore. I could always get rid of them if I want. Come to select, Select. Select Select. And then if I come down the bottom, it says delete. I'll tap on Delete. And these are the various files. Now the next thing is to get them inside procreates. So I'm going to press my Home button because I'm using my old old ipad, 2017 for this. Because I haven't installed any of them on this ipad. Okay. So there's the procreate logo tap on that. Let's come to import now, where is it? Icloud Drive. Procreate Projects and Pastel Master class. Okay, so the first thing I'll download will be one of the papers that I want to use on this course. So what have I got? Let's try pastel paper, 4.5 K, procreate, tap on that. It imports it and there's my file. Now what about the brushes? I will come to my brushes at the top and I'll just slack from the very top, the DC watercolor washes. But now I'll come to the plus sign which I'm circling now. Tap on that. And here you can see something called import. I'm circling it now and I'm tapping it now. Okay, so where do we want it? Icloud? Drive. Procreate Projects Pastel Master Class DC Pastal 01. Brush set tap on that. Has to think about it. And DC Pastel 01. Okay, so that's the first set of brushes. I do have more, but it's just a case of repeating that process. Now, what about getting color palettes in? Well, if I come over to the colors tab, which is this little circle here, and I tap on it, you can see I just have the default palette there. But I will come out of procreate for a second. And I will come back again to my files app. I'm still in the Procreate project. That's where I want to be. Come to the Pastel master class. And I have a folder which I ends up just a second ago called Procreate Pastel Palette. Let's get that. Well, all right, let's try the first one on the list. All I need to is tap on it, imports it, DC pastel paper colors. Well, that was easy. Let's try another one. Come back to files and let's try. Well, let's just go through them in sequence. So DC pastels, blues and imports, and DC pastals, blues and science. And that is it. That's what you do to get various files in just quickly. If I come back to the files up again, let's see if I can find an actual procreate file. Okay. Look, there's one there. Dinodndons, procreate, tap on that, it imports it. If I come back to the gallery dinodndinso, that's a quick sketch from the Procreate Solid Foundations course. Actually, you know what, There's an even symbol away. Just come to the top left and tap on Gallery. And what do you know? There's an import button there. Come to my Cloud Drive, let's find a file. Let's come to procreate projects. You can tell that's a procreate file because it says do procreate. Let's come to clipping flowers. Tap on that. Has a think about it. Downloads it and another star of file from the Procreate Solid Foundations course. Okay, That's how simple it is to import various things into procreate. And with a bit of luck, Apple won't improve the operating system yet again. So that we have to re, learn how to do something as simple as importing files into procreate.