Whimsical Inspirations: Sketching Whimsical Illustrations Using Procreate

1. Introduction: Always wanted to come up with beautiful, gorgeous whimsical sketches using digital mediums. Frustrated with the blank canvas. Don't know where to start. I can't find any inspiration. If the answer to any of this is yes. And this class is the perfect solution for you. My name is Jim Ryan. I'm a graphic designer and illustrator and amp, totally obsessed with creating whimsical illustrations, especially using digital mediums. I will show you a unique, easy to follow process to give you an inspirational kickstart to get you started in creating your whimsical doodles, sketches, drawings, or illustrations. We will look at how to find references to give you a basis to build your whimsical illustrations on. We will then work step-by-step in real time for you to follow, to start creating a fabulous sketch. And we will add in some textures and tonal values and a splash of color to give our beautiful whimsical illustration and nice bit of character. We will be going through the entire process in a very slow and steady pace so that you don't miss anything. After completing the lessons and the step-by-step process, you will then be ready to delve straight into your own whimsical magical world filled with gorgeous little whimsical inspirational drawings. This class is aimed at all levels of skill, from beginners to seasoned professionals. And we will work again in real-time at a nice steady pace for you to follow along. Reference images that we use in the class will be provided in the resource pack. And you'll also be given additional images and references for you to practice and work on. So you don't need to worry about having a huge collection of images to find. I'll start this lesson. You can start this lesson straightaway. So what you're waiting for, grab yourself a nice drink, get yourself a nice tasty treats. Sit back, relax, and let's get started in the wonderful world of whimsical. 2. Class Overview: Welcome back. Let's now do a quick little overview of our lovely new adventure into the world of whimsical, using whimsical inspirations. So what you'll need for this class, number one, you're just going to be needing a touring tablets and the stylus because this is a class using digital medium, it's absolutely necessary for you to have a touring tablets and a stylus. And this can be any drawing tablet and staff. I said it doesn't have to be the same one that I'm using. You could be using an Apple iPad or Apple Pencil, Samsung tablet with a Samsung pen pencil, or any other stylists that works. You could even have a Microsoft Surface with Microsoft pen. Or you can have any of the tablet brand or any type of tablet that has a compatible stylus that you can use to draw with. I'll be using my Apple iPad with my Apple Pencil. If you have one of these, then that's fantastic. But if you don't, just get your tablet and drawing stylists ready, so you can start the class. Number two, you will be needing a drawing or sketching app that works with your tablets and stylists. Now, the most important aspects and feature of the drawing and sketching app is that it must have layers functions because we are going to be relying on layers to produce our lovely, whimsically inspired sketch. So it must have layers for Apple users like myself, using an Apple iPad, procreate is an absolutely brilliant app. It's my go-to app. And in fact, it's the app that I'm gonna be using for this class. But if you're an Android tablet user, then checkout flow or sketchbook. I've used these apps and they're very good. Indeed, if you're a Windows user and you have a Microsoft Surface, then sketch pile is supposed to be quite a good sketching app that has layers. And finally, if you have a more specific graphic design Wacom style tablet or a synthetic, or even just another Microsoft style tablet. Then you can even use Photoshop, the full package or the app, which will also work great using layers. However, as I said before, I'm gonna be using Procreate on my Apple iPad with Apple pencil. Okay, let's now look at the different stages of the class. So stage one is all about the reference image. Now, the reference image can be taken by using your phone, which has camera function on it. Or you can use your iPad or your tablet if it has a built-in camera. Most tablets have cameras these days, so you can even go ahead and use a huge Apple iPad Pro if you want to take your reference image or if you like, you just want to use a digital camera. It will make no difference at all. Go ahead and use it. Just get your device ready to take your reference image that we will be moving on to in the next lesson. Stage two is then the sketching stage. Now, this is where the fun begins. You've got your tablet ready, you've got your stylus or Apple pencil ready. You're all excited and you have your reference image. What we're gonna do is we're just gonna do a simple outline. Then we're gonna go in with the fun, creative stuff. Then we're going to add in a bitter tone and finish off with a splash of color. And that's about it for the stages. There's just two simple steps. Stage one, reference image stage to the sketching stage. So now let's move on and dive into stage one in a bit more detail and start looking at our reference image. 3. Reference Image: Okay, welcome back. Let's now talk about our reference image, stage one. So what are we actually going to be talking about within the context of the class? The reference image is all about finding a focal points. Yes, it is a vocal points. Now you might be thinking, focal point. What is he talking about? Well, again, in context of this class, what I mean by focal points is an area of interests that can be used as the blueprint for our lovely sketch or illustration. So basically, all I'm saying here is that the focal point is the area of interests that is gonna be the inspiration for our beautiful whimsical sketch. So where are we going to find our focal points? Well, that's the easy part because the focal points can be found anywhere. At anytime. Yes, it's can I know you're thinking how can you find something anywhere at anytime? Let me show you so the vocal point can be found anywhere at anytime. All you need to do is observe your surroundings. It's as easy as that. Let the observing begin. Okey-dokey. So all we need to do is have a look at our surroundings. So right here, I've got my desk where I'm actually currently sat at. I'm just having a look at all the items that I've got clustered on my desk and I found a focal point now that is of interest to me. So you can see over here I've got a nice little setup and it's just like that. Just have a look around in your house. I'm doing now is I'm having a little cap the living room where we've got the window and a few plants. And then I've got this nice little chair that will make a really lovely focal point. You can see that I'm turning the camera to get some interesting lines and shapes. And that's all it says. We're just basing our inspiration from our surroundings using interesting angles and focal points. And then moving on to the kitchen where I've got a couple of items that we usually have stuck around in the kitchen. And again, this makes a great image to reference in our whimsical drawings. And you can get multiple focal points from this. Just move around your camera to get interesting angles. Then maybe step outside and have a look at your garden. I'm just stepping outside into our back garden and I can see the lovely gleaming sunlight coming in and interfering with my camera. But just straight away, I've got myself a nice, interesting focal point there on the floor with the pebbles and the sharp edge near the fence. Then I'm moving along near where we've got the garage doors and we've got some interesting bits and bobs over here. We've got this nice little stone area where we've got the steps. Again, we'll make a brilliant focal point moving on to the actual garden area itself. And I've got this odd looking little. 4. Image Placement: Okay, welcome back. Let's now start Stage two of this. A wonderful stage by stage journey into the world of creative inspirations. So we've now got a nice resource of images from stage one where we talk indoor, outdoor, and really looked into those focal points of our surroundings. And I'm going to leave all of the images that have got within the image session that I did in stage one in the resource sheets. So do check that out. And what we're gonna do now is we're going to bring all of those images in into our digital drawing tablet. So I'm using an iPad mini here and the stylist or the Apple pencil, if you like, that I'm using is a second-generation one that attaches to the actual iPad like that. And this is actually one that I bought recently. So I'll probably only have this for maybe about three months. Just about three months. Prior to this, I would be using the big 12.9 iPad Pro. However, I've just loved the form factor of this and I think for this exercise is just so easy to have one of these mini iPad or other tablet you're using, whether it's an Apple tablet or Samsung or any other brand. Just make sure that the sketching app that you're using, the application has the function to do layers in it. Most of them these days do, and a lot of them are, can be free. So I'm using Procreate, which is my go-to drawing and sketching app. So I've got the home screen here, which is just a gallery of my Udemy doodles that have done over the last few months. And let's now create a new canvas. So on the right-hand side, I'm just going to do a little plus e plus action, which will give me the different Canvas sizes. And again, if you're not used to using Procreate or it's something that you'd like to get into, then I'm gonna do this step-by-step. I'm going to assume that you have no knowledge of Procreate. Just though that all my students that watch this class can learn as we go along. But if you're already got Procreate and you've been using for awhile, then you'll know how to do all these little tips and tricks. So just ignore them and just follow along on the sketching part of this lesson. So I'm just going to create myself a screen sized canvas purely because it fits the screen and I don't have to mess about with it. And we're gonna, what we're gonna do is we're going to actually go in and do a little pinch, you pinch, so that we can see the actual page or the Canvas within the frame of the iPad. So what I'm gonna do now is I'm just going to open up the Layers panel. And for this first layer, I'm gonna name this the reference photo layer. So let's just call it reference. And it pops up beautifully. There you go. I'm naming that first layer reference. You can get rid of the keyboard. Now, let's click on this little wrench or spanner icon, like we like to say in the UK it's called a spanner. So if you call it a wrench, you can call it a range. Absolutely. No problem. So click on that icon over there. And all we're gonna do is we're going to click on Insert a photo. Now, all the images that I took from my iPhone. So if you've done exactly the same, just transfer them over into your iPad or into your digital tablet. However, if you do have a camera function on your iPad, which, which all iPads do. Or if you're using a different tablet, then just take the pictures on them. It makes no real difference about how good the quality of the picture is, as long as it's something decent enough to capture as much details as you can to give you a bit of a reference. So you can see over here I've got loads of my little pictures. Let's get to the most recent ones. So most recent ones here are these ones and these were the reference ones that I did see. If you see over here, I've got some nice outdoorsy ones that we talked that we went through in stage one in the previous lesson. Then I've got some nice ones of my desk and a few things laid out. Just some random ones in the corner of some areas in my house and even one in the Honda garage that I was in a few weeks back where I was having my car serviced. So I thought I'd take a nice little pictures or some focal points and then I've got some coffee shop mugs here. But what I'm gonna do is I'm going to maybe go for probably this one over here. So bring out this image if you want to follow along, this one will be in the resource pack. And you can see when I click on that, it doesn't fill the canvas, but that's no problem at all. All we're gonna do is we're going to do a little, oh, where's it gone? It's disappeared. Oh my God, what's happened? It's all going wrong. Don't worry if that happens to you. You need to do is do the back arrow a couple of times and wallah, there it is. Sometimes the iPad can go all funny depending on what mood sense. Let's continue. And again, we're still on that reference layer. So making sure that it is the reference layer that we're on. Just click on the little thing, a magic arrow over there and then just pinch out and it happened again. Oh, I don't know why this is happening, right. Let's put the Apple pencil to the side. I think my iPad is not in a very good meat today. He might have not had coffee and tea cakes in the morning. You might not survey. Just do this. And again, there you go. It's working now. Third time, lucky, a third time lucky. Hello. I'm gonna do is I'm just going to place this image into the actual frame of the canvas. Now, if you're doing an image, when you're doing this yourself and you think, Oh, I can't fit it into the frame, don't worry. Even if you have the image that's kind of like centered or there's still parts of the frame of your canvas. Just leave it at that because it's not really about every single detail in the image as you will come to know, it's more just about eight blueprints. So I like the positioning of it like that. So I'm just going to click on that arrow and there we have it. So another tip here if you didn't already know, is if you do a two pinch, you pinch like this, it will fill the screen. That is a great little. So you don't know that you know it. Now. Let's now move on to the next layer. So if we just click on the layers again and add another layer on top. And this time I'm going to rename this layer sketching. Sketching. Let's get the spelling right, so it pops up over there sketching. So that's just gonna be the initial sketch come out of there. And now that one is highlighted. So what I want you to do now is once you've named this layer, then go back to this one so that it's highlighted in blue and click or tap on the N. Let's move the opacity down to about 60, or should we call it 50? About, around, about 50 per cent. That I'll do. What we're doing here is we're just kinda washing out the background, making it a little bit less contrasty. And then again, now what I'm gonna do now is I'm going to go into the sketching layer, come up to the layers, and we're ready for the next part. So let's now select our sketching tool. Now, I personally like to sketch using the inking tools that we have over here. We have quite a lot of different options. You can do this in any pen, brush, or kind of tool that you like. It's entirely up to you. I like to use the inking technical pen because I just find that it's quite nice and versatile and it gives a nice effect. So I'm happy with that. So let's go to the technical pen, come out there. And what I wanna do now is I want to get rid of all this clutter of the interface. And another tip for that is if you just get your four fingers, fingers and tap at the same time with all four, magically, that interface disappears. Looking at latte, there's your second tip of the day if you didn't already know. So let's now look at this image. 5. Adding Outlines: What I'm gonna do now is I've got quite a lot of different items here. This is like the corner area of my desk where all my monitors are. So what I'm gonna do is I'm gonna go ahead and I'm going to start doing some vertical lines. So just with the Apple pencil, I'm going to start off with maybe this area here and just draw in vertical lines wherever I can see them. So I can see this on my monitor desk here. Then I've got my hard drive over there and there's a fly flying around Galway fine. I know you love watching my classes, but just go away. Rights. Then I've got this little artificial pot plant type thing. So just got some vertical lines there. And then I've got a couple of these at the background and midground over here of the parts that I have with my pens in the markers. And then I've got this beautiful massive tin of gorgeous cookies that I'm going to start eating in my break time. So just another one over there. And then we've got the book that I always like to rest things on, which is my sketchbook, my watercolor book, couple of ones there. And that's about it for the vertical, vertically. So let's now do some other lines. Now let's do maybe some diagonal lines. You can see we've got the diagonals here, here, and maybe like curvy lines. So all we're doing here is we're just going in and just creating this outline of all the different elements that we have in our sketch. Now remember, we're not here trying to imitate the exact object. All we're doing is we're just effectively just creating a blueprint of angles that we can work with. So just like that over there, got one there, maybe one down there, one down here. And you can see, I'm being very loose over here. It's like going all over the place. But if you don't want to sketch in a loose style, then you can always just hold down onto your Apple pencil and get that perfect straight line just like that. So that's tip number three to get your perfect lines if you really want them, but I'm not really that bothered, so I'm just gonna go in blue. So just like this, I've got a couple more lines there, another one there. And then I've got my mouse mat down here. And then the edge of the MacBook Pro, just like that. Fantastic. So what we can do now is we can start working on these curvy curve is now for the curve is curvy. Tilt my Canvas just like this so that it's easy for me to do. You don't need to tell the canvas if you can just do it, because I tend to do have a bit of a wobbly hand. And the wobbly hand artists downside, That's what they used to call me, but it got me some decent grades back in schools. It's just calm down and not get over-excited. Has just go in and do these curvy curves. So just like this, Kirby kept there and then I've got the top part of the lid just like that and then the handle going there. Let's do a pinky pink and it's looking great. So have we missed any parts out? Oh, of course we have. We've missed out that gorgeous car at always. These little toy cars, these models here. So just go in and give that a sketch. You don't need to put this car. And if you don't want, I always liked it because I love my cars. I'm sure, you know, especially if you've seen any of my unboxing videos where I get really excited by unboxing my cars, boats anyway, that's for another day and another lesson in another class is, so let's just go in and just draw in roughly the lines that make up this car. And that's about it. So let's also look at these pens. For the pens, I'm not really going to be that bothered about the pens because I don't want to go ahead and just draw my desk items now. Do I know I want to get creative, so I'm going to leave it at that. And maybe with the hard drive just finished that kind of sharp edge of the hard drive there. And I think that's about it. So we've basically done the first part of the stage to sketching stage. So now we can have a nice little break, maybe have a little treat, a bit of a chocolate, or even take some biscuits out of that biscuit tin. Absolutely fine. And I'll see you after I've done that. 6. Creative Sketching: Oh, that was a nice little cup of coffee that wasn't a yes, it was beautiful. Hit the spot. Alright, let's get our Apple pencil now. And we can start the fun part of the class. So what we've got here is we've got that little outline, sketching that we just did by using our reference photo. Now what I'm gonna do is I'm gonna go ahead and bring back my layers. So I just went in with the four, touch with the fingers to bring it back. And I'm going to go ahead and get rid of that reference image in the view. So I'm just going to uncheck this box over here and you can see I've just got that base raw sketching layer. So what I'm gonna do now is I'm going to go in and I'm going to add in another layer on top. So now we have three layers. We've got the reference initial sketching, and now we've got layer three. And I'm gonna go and call this one the creative layer. So let's call this the creative creativity. There we go. Beautiful rights. Let's call that one creative. And let's leave that one highlighted. Get back on that, sticking to the same pen that I used before. And what I'm gonna do now is I'm gonna go with actually go back into that sketching one here. So the second one that we had the sketching, I'm just going to lower the opacity of that. So clicking on the end, bringing the opacity of that down to around about 50 per cent again. And then coming back out of it now, just make sure once you've done this, you are in that creative layer. We don't want to be going over the sketching layer, we want to start adding on top. So let's go back. Let's get rid of the interface super-duper. What we can do now is we can now start planning out our beautiful whimsical creations by using this structure. So we're going to use this beautiful little form that we've taken from our reference image. We've got some nice bits of structures going on over here. And we can use this now to start becoming inspired and start really flexing our creative whimsical muscles now, can't we? Yes, we can. So let's make a start on this. So looking at the centre where we've got the two cylindrical shapes here where we were holding our markers. What I'm gonna do is I'm gonna go in with my pen now and I'm just going to go in over them again. And I'm going to actually go ahead and start adding some elements to them. So let's see if you can guess what I'm doing here. So I'm just going over the line and I've just added that little triangular top over here. And yes, you guessed it. I'm going to do a little house, the house now. So just like that, I'm just going to add some lines from the top and I'm just going to basically make this a hexagonal cylinder. It's got different sides to it, so it has a bit more structure. Then on this next one over here, I'm going to do something similar. So I'm just going to bring a line down from the side to kind of create that Chair of another house, the house, but might give this a slightly different roof. So for this one, what I might do is I might just go in and just do this shape over here. And if you've watched any of my previous classes before, you're going to know that I love to do mushroom houses. So let's make this into a mushroom house. You can see I'm going in really, really rough here. I'm just going to use the pencil to just create lines that go in the direction that I want it to go to create a bit of a shape. So you can just see that I've created a triangular structure here, and I've just created a mushroom head over here. And so easy peasy, lemon squeezy. So this is what I'm talking about when I say flexing your whimsical creative muscles, just coming up with ideas that you get inspired by, just by a basic sketch. So let's go in and maybe make this a little bit wider from here, what you can do it, you can actually alter the elements that you have in your reference image so you don't have to have them exactly the same size. You can see now I've just added this line over here. The line was actually there. I've just added it there so that it can accommodate a wider base area for this mushroom house. So just like that, I'm just creating them initial structures. And then we've got this nice little boxy box over here where we have that artificial plant. So I'm just going to go in and darken those areas of those lines. And yep. You guessed it. I'm going to go ahead and I'm going to add in a nice triangular roof, which will look rather nice, just like this, finishing it off. And look how easy that is. So now we've got three of the elements done. Let's now move on to the book that this was all resting on. So maybe with the book we can just add in maybe a couple of steps here. So just one. To and then just go in like this. Just like that. You've got that one step and then you've got two steps. Now, if you follow this step-by-step, her, her pardon the pun. These steps can work out to be a two-step, three-step, whatever you want. I mean, you don't even have to do this. You can come up with your own whimsical ideas. That's absolutely fine, but it's always nice to do a kind of follow along so that you have something to look back out before you start your own for your class project, which we're going to come to later on, you're gonna be really doing your own sketch with your own reference image. So this is just a nice practice. So I'm just adding a couple of steps over here. So you can see we've got this little step that's going into this little box, the box house down here now and I'm going to add any elements of the house yet. I'm firstly just going to map out those structures and see what I want them to be like. So let's now have a look at this area here. So we could possibly have this as a bigger building, maybe highlighting these areas down here. And then this could come out with a hard drive was and then maybe just do a roof top like this. So just like that, it's coming off the page or off the tablet if you'll hike. And that's it. So we've got this edge to that roof coming down over here. And then just maybe a couple of lines where those were roof tiles are gonna be just for indication. And then maybe this area that kind of squares off where the iPad, the iPad, whereas the MacBook Pro was, this was the MacBook Pro. Maybe we could just have this as kind of like a border. You don't have to design every single element in the reference image. Just add or take away as you like. So what we've got here now is we've got that car. Now. I'll do love my cars as you truly well and know. I'm going to just go ahead and just draw in this car might change some of the dynamics of the car here. So I might make it a bit more boxy. The back might just make this into my own car. This could be the Amron Miguel car version, maybe version 100 because this is a hand so many cars I love designing cars. It's just one of my hobbies, in fact, for my graphic design project, when I was back in school, I'd actually designed a car and made it out of wood. Yes, you're thinking how do you make a car out of boredom? And I was only how old would have been probably 1516. Then it was for me GCSEs, and my decided to design a car and I absolutely loved it. I loved the whole design process. And again, that's why I really became a graphic designer, isn't it? So I'd say follow your passion and it will lead you to a beautiful, successful career. Hopefully. Just like that, I've just gone in and I've just basically drawn in that similar structure there, the car. And I like it maybe add a couple of elements later on, but we can do that in the next stage. So just like that, I've got this nice Now dark areas where I've got a nice bit of form and then we've got the beautiful biscuit tin. Now I'm going to do is for that biscuits. And I'm going to just move my canvas over here so that I don't keep covering it up. So you can see this a bit better. So for this one, I'm just going to go in again. It's going like this. Then maybe start adding in some panels here like that. So what this does is this is a good way to divide up a bigger object. So just like that, I'm just adding panels and that gives me a little bit of a guideline to follow. Again, you don't have to do this if you just want to draw it as it is, that's absolutely fine. Then we've got this lid area. But for that lid, what I might go ahead and do is I might just throw in a couple of triangles tops here. So it could effectively be a nice little row of houses over here, just like that. And then what we're doing is we're just completing it off. And then maybe just do a line going this way, that way, and that way you don't look at that. That's just like a nice three row of houses. Let's just do a pinch. You pinch. Look at that. So we've created a nice overall structure. What we're gonna do now is we're gonna go and let's do a four tap to get our beautiful interface back. And then I'm gonna go into my layers and I'm gonna go back to that original sketching layer where we have the sketch. And I'm gonna go ahead and uncheck that box. So that's it all disappears. Come out of it. Do a pinch, you pinch to get the screen back. Four Tap and look at that. We've got a structure now you would have never guessed it. We got this idea from all this base from whether it's the corner of my desk or corner of my house. So it makes no difference. You wouldn't have a clue. And that's what this class is all about. These whimsical inspirations that we get to construct a beautiful image. So that's this stage now complete. We've created our main elements and now we can start adding in the details. So let's move on. So that one next. 7. Building Details: Okey-dokey, welcome back. Let's now do the next exciting stage of our lovely sketch. Now, I know what you're thinking. Kinda get more exciting than this. Oh, absolutely it can. So let's get our Apple pencil ready. And what we're gonna do now is we're going to slowly start building in some details and making this look a little bit more convincing. So we can start in any type of area or any, any focal point that we like. I'm going to start off with this first part here that we did, which we have this pointy triangular roof with this kind of like chiseled look going all the way around the actual body of that building. So let's start off on this one. I'm just gonna do a little enlargement there. And I'm going to stick to the same pencil and I'm just going to go in and carry on adding gain more lines. But before we do this, actually what we need to do is we need to go into our layers. So do the four tap. And let's go into our layers. And the iPad is in a different way. So let's get it right orientation, that would help. So let's just go in and go into the layers. So we had the sketching, then we have the creative that we worked on last. What we're gonna do now is we're going to start adding in details on another layer. So layer four just renamed this details. So we know what we're doing just in case we have to actually go back and change anything. Details don't super-duper. And what we can do is go out of that now. Now if you want to maybe reduce the size of your brush, you can do that. I'm using that same pen that I used before, the technical pen. So I might just reduce the size to maybe about 68%. So that'll give me a slight, a thinner line. So that'll work pretty nicely as just test it out over here. That's actually not bad. I might have it a little bit more thin than that. So if we were to tap to tap again on Do I'm sure you already knew how to do that. But if you didn't, you just go back on the arrow buttons here to do that undo action. So we're going to bring it down actually to around about 38%. I think that'll be just right, yeah, that's looking good. So let's just do the undo with the backward arrow, and let's get rid of that interface and we can start designing in some wonderful detail. So I'm going to start off by going into this roof area here and just dropping in some lines like this. Now again, you don't need to follow the exact number of lines that I drop in like this. This is just my style of sketching where I like to do this cross hatching type of work, patchwork, cross hatch work before I go in with any more detail. So you can see all I'm doing is just adding in these lines to just add a bit of texture to it. So again, just do this if you want to follow, if you don't, if you just want to add in details yourself, you're welcome to do that. But now what we're gonna do is I'm going to go in and maybe add some detail on the edge of that roof. So where the roof meets the eye building part just make it a little bit thicker. Adding some thick lines and darken up that area, just building in detail, just like that. Then I'm going to do a hatching lines the other way, just like this, because I love this criss cross hatching line. I do this a lot with my traditional media, so I like to imitate that in my digital work as well. But again, you don't need to do this if it's just something you want to watch me do, just go ahead and watch me complete this sketch and then do your own, or you can add in any elements that you like. So I'm going to leave the third one as it is. Then what I'm going to probably do is just maybe adding a couple of lines here, just really lightly. I'm not pressing too hard on the Apple pencil. Again, just adding some textures to just really make it look a little bit nicer. So you can see some of the lines are wobbly, so it's straight. It really doesn't make a difference. I always liked that rough sketch look rather than have everything perfectly lined up. It's just a fun part of sketching, isn't it? Yes, it is. So let me make sure that I don't cover up the screen with my hand while I'm doing this because I want you to see and not miss anything. So just like that, I'm just going to start adding this kind of cross hatch detail here, just like I did on this part of the roof. And then in that middle panel just going away, cross just like that. And it effectively just starts adding that kind of texture tone so that shape that we have. So there you go. And then we can maybe just finish it off at the bottom here, like so. And do a pinch. You pinch out. There you go looking good. Okay, Now here's another tip for you. I've used quite a thin line on this kind of detail part and I may want to change that later on, but then I may want to get back to that thin point and there's a way to do this. So on this. We need to do is let's just bring back the actual interface and where you have the actual pointer slide that you had here, just click on it once and it'll give you the size. So we went down to 38 per cent. Now, if I want to quickly go to 38 per cent without having to go up and down, then all I need to do is hit that plus button. And what it's done is it's effectively created a bookmark at that point on that slider. So if we maybe move the slider up and down, you can see now you've got this little gray mark over there. And all we need to do is tap on that gray mark. We've got exactly 38 per cent. So that's tip number four, where you can actually program and code in little buttons on the slider for the actual tip size that you have to maintain a consistent line throughout your beautiful illustration. So what I'm gonna do now is I'm going to make my lines a little bit thicker. So I'm just going to bring this a little bit higher to maybe 7071. I think it was around about 71. I don't want it to be super thick, but just a little bit thicker than what I had with the crosshatching. So let's now go in and start adding some elements to this. So I'm just going to get a bit of a expansion on there for tap. And let's start adding some bits and bobs to this. So I might throw in a little window here. So just like that, I'm just following the shape of the panel that I've got there and I might throw in a couple of windows there. So maybe just a line going across and overhear, how about having a curvy curvy window? A nice long one there, couple of lines across, one in the middle. And then maybe over here we have a door that we just dropping over there do as you like on this, add as many or as little elements as you want. You can want to follow the exact elements I'm doing. Then go ahead. Then maybe over here we might have a fancy little rounded tight window where we just have a couple of bars going across. And then maybe we just have this small little light here. Can have, you can make it into whatever you want. You can even make it into a little lighthouse km you have close, you can see how just carrying on with this, I'm just going to add like a border on the bottom part of this building structure that I've created. And remember what we created this form actually forgotten what this was, what was this again? I think this was the bamboo pencil holder. So just like that, what we've done is we've just transformed a normal bamboo pencil holder into a nice, gorgeous little pointy roof house. How cool is that? So that's where our whimsical inspiration took us. So what I'm going to do now is maybe some details over here on the roofs are some darker lines going in like this. And again, you can spend as much time on this as you like. But because I want to try keeping this class nice, quick and short so that you don't sit here watching me for hours and hours doing loads the details. I'm going to probably just maybe do a couple of diagonals here and then just leave that house as it is. You know what I'm talking about, you get what I'm doing here. So when you come to do this, I want you to spend as much or even as little time as you like. It's entirely up to you. You can really, really go wild with the details depending on what you like. So I'm gonna leave it at that. Let's just do a pinch back. There we go. Look at that. Fantastic. So let's move on now to one of the next elements. 8. Small House: Okay, welcome back. Let's now continue. And before we start, let's just maybe make a nice little bookmark of the brush that we were using. So just going to hit that little corner square instead of doing the full tap to bring back the interface. And you can see the last line that we did was at 71%. So I want to keep that because that gives me a bit of consistency when I'm doing details on the other elements. So now we have two points here. We've got the 50 something 50 it was known, it wasn't 50 was Walmart's all get about 8%. Then it was the 71% in the weight of that pen. So what I'm gonna do now is I'm going to maybe move back to that 38% so that one there, 38 per cent have that highlighted. And then let's start on one of these other elements. So I don't want to see that interface now, let's maybe add in some details onto this little, little house guy over here. So let's start on this one. So again, I'm going to start maybe throwing in a couple of lines like this just to follow the shape of the actual thing that we've just drawn. So just like that, a couple of lines spacing them out randomly and then maybe some lighter ones here and some lighter ones over here. And then could possibly do a bit of a cross the cross hatch again like we did before. So it's just like going across and then maybe going diagonal on this end. Don't want to overdo it. Don't want to make it too dark because we are going to start adding some tonal values later on. So that's about it. And then maybe you just need to knock this area. And then we've also got this steps are for this step what I might do is I might just add in kind of like a black logo line over here. So just a bit of a wiggly, wobbly line just down there to give it a bit dark. And then on the second step, which is quite a large step, isn't it? But then again, it's a whimsical world, isn't it? We're just designing these little whimsical world. They don't have to be accurate. You don't have to have the right perspective. It can just make it however you want. So there you go, a bit too dark on that one. We've already got a bit too dark on that one. So that could effectively be a 123 step structure. And then maybe I might want to go back. So let's just get our rubber. So just clicking on the eraser brush there because I'll probably overdid that one here. So I might just go in and start erasing all that. I raised the brushes. A nice big one isn't. So let's get that back down to size. And let's do an undo. And then we can go in and we can just erase what we did before. That's the advantage of digital. You don't like something, just go ahead and erase it or press the undo button, isn't it? You can go ahead and undo. You don't have to mask with masking fluid or do anything like that. So that's looking good. Let's leave it at that. Highlight the pen again, we're back on so that 38 per cent, so just going in the little pinch to zoom. And so we can concentrate on this and get rid of that interface. Come on, go away interface. What's it doing? There you go, right? It's gone, it's gone. So let's maybe just adding some lines here. Some nice lines down here. Going on the face of each one and M steps. And it just adds that really nice, loose, sketchy style to your overall illustration. So maybe adding some lines on this side, but not too many. Because what I'm actually imagining is that the light source is coming in this way. So we've got darker on this side, lights on this side, and that's what we did here as well. We have a bit more dark on their lights on there, but you don't need to worry too much about lighting and things like that. Just have fun with it. Just go along, see where it takes you. Because it's just about relaxing. I really don't want you to overthink anything when you're doing this style of sketching because that's just not the purpose of it. We're not here drawing, perfect perspective drawings, trying to create clockwork images. It's just simple. Relaxing, creative, whimsical drawings just to make yourself feel good. It's all about well-being, isn't it? That's what it's all about art well-being, relax and enjoy yourself with art. So let's maybe add in a couple of lines like this so that the detail there and then just some light ones on the back. And you can see, this just doesn't even really make sense, does it? Because we've got this structure here and then it's ending. Again. It doesn't make a difference. If it really bothers you, I might just put another step that make it look a bit more convincing. So you can see we have this panel here, another panel on top, and then another one on top of that one. But I'm going to leave it at that. I'm not going to stress over it and I don't want you to. So let's go in and get our thicker lines are going back onto the slider. So we have the 38% there. Let's go on to our thicker point, which was that one, the 71%. So getting it back onto that one there, get rid of that interface. And let's start having some fun with adding some elements. I might drop in a nice door with a rounded curve on top. Nice little door over there. And then maybe have some teeny weeny windows here. Left and right. Beautiful. And then on the roof what I might do is I might put in some dark lines going across here that represent the roof tiles. Just fight that. Gorgeous, right? And then on this side maybe just have a nice long window just to complete it. And on this side, just throw in some darker lines going across for them a roof tiles. Now, I actually want to add a little chimney and I do love me chimneys. So maybe we just throw in a little chimney on this end. So just like this, you don't have to do this. This is just adding an extra element to it, which I always like to do. I actually spent so many hours doing these types of sketches. Once we've finished this actual sketch, I'll go through some of the examples that I've done where I've spent literally hours and hours doing these sketches. But mind you, I don't usually do them all in one go. I spent a little bit time on every day and that's what it's all about. It's not about stressing and trying to get everything complete on time is just about starting something off that you can continue to do whenever you find time that you can actually go ahead and enjoy. So that's what it's all about. Let's just do a pinch. You pinch back on that. So that's looking nice. 9. Mushroom House: Let's now move on to our mushroom house. So going into the mushroom house to bit of a zoom in zoom. Now you can see that I've got a couple of lines going in on the top, but I'm not really that bothered about them. I'm going to stick to this big brush here and I'm just going to go in and just creating some lines that are going in this direction. Then some lines going in this direction. It's effectively creating a mesh over this shape. Just to give you an idea that this is a rounded rooftop, more of a mushroom head rooftops. I'm just going to do a little turn on the canvas and I'm gonna go in with a heavier point there. Just to neaten this up because it is quite rough. And I want to maintain a bit of a balanced throughout this sketch. You don't want one end to be super rough and the other to be half rho for semi smooth, It's always nice to keep things in balance. Then again, you can do whatever you want. So let's just go ahead now and maybe make our brush points thin to that previous point, that 0.38 get rid of that interface. And now let's have some fun with some crosshatching. So I'm just going to do some cross hatching lines going in a diagonal way, taking them down, up to here, making this a little bit smoother. And then going in the other way like this. Just like that. Really lightly, you can see I'm not pressing too hard on the Apple pencil, which always works great because you can vary that linewidth, just like you do using a real pencil or pen. And that's looking quite nice. We've got this nice little pattern of this round shapes. I'm not really liking this area here. So what we're gonna do is I'm going to effectively make this a little bit thicker. But what I'm gonna do is I'm going to fix that later on. If I feel like it's so again, no points stressing over things that don't work out. I don't want you to start stressing and spending absolutely ages just on one little area. Just do the best you can see how it turns out and move on. Get the entire illustration complete. Add some lines in some crosshatching lines, maybe bring some in this way if you don't like the way something looks, but you've got the ability to change it to what ever you want. So let's leave that like that and do a slight pinch back or center it. Now, Let's maybe move to the actual details of the structure of that stem, that mushroom stem. So I'm just going to throw in a couple of lines like this. Not too many. I don't want it to be too heavy, but then maybe on this area here is going a little bit heavy just to cover that up. And then over here, maybe go a little bit more heavy just to color this area of just wants to maintain a bit of contrast. So effectively, if you've got this behind this building here and this area behind this building. So it's like having a shadow, a cast shadow onto this area. So just like that, a very nice, sketchy look, darkening the base a little bit. And that's about it. So let's move on to that thick brushes again. We got that thicker point. Oh dear, I've gone out of it. So what's happened here? So I've just clicked on that gallery. But again, this is a digital tablet. You end up fumbling around and sometimes pressing on the wrong thing, but that's fine to get back into it, all we do is click on it again and it started bingo, funny, I think I think it's hungry. I think the iPad is hungry. I think it needs another break. It needs a coffee break, but there you go. We're back in business. Yes, so get rid of that and let's get back to that iPad screen. So let's maybe go when we were gonna get the thicker brush yet, we've got the thicker brush. I've done it again. I've done it again. Ovens. I've gone to collect some. What am I doing? I think I need a break or thing maps have some biscuits. So let's get rid of that. I'm gonna do it again. And third time, lucky always works. So let's just go straight in and maybe just draw in a nice little curvy window like this. Nice and simple, just the way we like it. And I might just leave it at that or I might just drop in and mother one here. There you go. Super simple, super effective. And I think I'm just going to leave that as it is. So we've done the main focal points of the three areas in the middle part of our drawing. We can now move on to maybe this left area where we've got this stat houses or we can move on to this building that's kind of offset on the other side. So before we decide to do that, I think we should have a nice little break and I'm going to go grab myself a coffee and cake, so I'll see you when I'm back. 10. Changing Elements: Okay, welcome back. Let's now continue with our lovely illustration. Just had a coffee that was a chocolate brownie flavor won. And oh my gosh, it did not hit the spot at all. I'm never going to have that coffee again. So I thought I'll just let you know that once it's given to you. Okay, so what I'm gonna do now is I'm going to focus now on the car that I drew before. So let's get the canvas a little bit bigger. And what we're going to look at here is it's a, another technique to change the dimensions or the size of a particular element that you've drawn in that you're not happy with looking at the overall picture. If you have a look at here, I've got these little whimsical houses spread out where I had my elements before. And then I've got this big car, so it looks a slightly bigger than what I'd like it to be. It should probably be a little bit smaller. But then again, we're creating these little whimsical world, so it doesn't really matter. However, if there's elements you want to change, then this is a good way to do it. So let's start on this. So this is tip number five, how to change the size of a particular elements within your illustration, especially if you're working on the same layer. So let's have a look at our layers to make sure we're on the right one. So currently we're on the details layer. If you're confused as to whether this car was drawn on this layer, that one or that one. Best way to test this out is just go through it layer by layer and just uncheck the box. So you can see on checking that one was just the details. And then this one here, if we uncheck that, you can see it takes away that under creative sketch that we had. And that's where that car is on. Checking the sketch hair doesn't really make a difference because we're not really bothered about that one. So it's really on this creative layer. Now alternatively, you could have drawn each element on a separate layer, but I personally don't like to do that. I think it just gets a bit too much. And then you're trying to figure out where your layers and it just gets a little bit cumbersome for this type of a class where I just want you to relax and just enjoy yourself. Let's just stick to a couple of layers and keep things simple. So let's highlight that creative layer where we had the car drawing. So you just come out of that. And then what I want you to do is I want you to click on this icon here. So you've got this S shape icon, so we'll click on that. And it brings up our options at the bottom, make sure you've got free hand selected. And all we need to do is go into our actual drawing. So just pinch that a bit smaller because the iPad Mini has a really small screen. And what I want to do is I want to draw around this car. So you'll see when I started drawing without lifting the pencil, as I'm drawing, we're getting this line of marching ants. So I'm just going in over the edge as best as I can and I'm touching it at the end where that gray spot is letting go. And now we have a selection. So basically that's a selection within That's marching ants area. Now what I want you to do is click on that arrow button. So over here, if we click on the arrow button here, oh dear, it's gone. So we're going to do that again. That's no problem at all. Again, it can get formerly with this, especially here you've got a small tablet like I am. So if we go back, we got, we'll just do a quick little drawing, freehand drawing over here around that car. Now, there might be elements of the car that you kinda cut off. That's no problem or just doing a sketch out where. So just like that, with the Apple pencil clicking on that, now you can see the marching ants has become a box around the cast. So with that, what we can do is we can just go in, hold one of the corners in, and just drag it in. So because at the moment we've got a uniform selected in the panel over here on options. If you just drag it in, It's going to proportionately scale down or scale up. If you have distort, then that's going to make it go into different shapes, but make sure that you've got uniform selected when you clicking on that arrow button so you can see both of them are highlighted. So just like that, what we've got is I'm going to just make that a little bit more smaller like this. And for me, I think that's looking good. So now I want to just move this around so it can easily move this around like that. And even if you move it around on, away from your actual object itself, you can do it even if you move it around here. You can see I'm just touching my pencil over here it with my finger, wherever you want. You can move it. If you want to put it over here, you can put it over here, but let's just keep it within that similar range. So again, I might just make this a little bit more smaller. How about that? Yeah, that's looking good for me, but if you want to leave that car the same proportion and size as it was, go ahead, keep it as whimsical as you like. So to get out of this now, all we need to do is just uncheck. And there we have it. Quick little pinch, you pinch. Look at last. We've just easily do a nice little adjustment on one of the elements to move it around. Now you'll notice that you'll get a few of these bits and bobs that you didn't love, draw around properly that I've cut away. Don't worry about that. If you want to get rid of them and they bothering you, just get your eraser, make sure it's the right size and just go ahead and erase them out to neaten it up. If that's what you want to do or you can leave them in. So again, I'm just going to erase some of these pasts that are staying there. That's probably on another layer. So I'll leave that click on the brush again. And now we can go in on our details layer. Start adding in some details to this lovely car. So I'm just going to go in like that and get rid of that interface C. And let's now start fine-tuning this car so you can see it's really rough, isn't it? But I'm not bothered. I'm just going to use that as a base. Oh, I've still got my eraser on, so come out to that. Oh no, it's not the eraser actually gone ahead and clicked on the color palette when I was holding down. So to get your color back. And here's another tip, tip number six. If you want to get a pure black. So you're like trying to find a pure black or black, but you had over here and you're trying to press down like this. If you want the same color, you just press down with your finger and it will bring a color wheel. But what might happen is that blood that you're touching is slightly different from the black that you originally had or whatever color that you originally sketched with. A good way to get pure black or pure white or pure saturated color is like this. This is tip number six. All you need to do on your color wheel here is in this area where you have the color in that circle, you have this darker border that's going around over here. So what you want to do is where the color area is, not where that dark circle is, that dark gray circle just inside of that. Just double-tap. And what it'll do is it'll snap that point to where the pure black here, so that is pure black over there. And if you want pure white, just double-tap there. You've got pure white there. And if you want the pure saturated color and double-tap there, and you've got the pure saturated color there. So again, if you just tap wherever you want in this side, it will snap to the highest saturation of that particular shade. So what I want is I just want pure black and it's snapped over there. So that was a nice little tip if you didn't already know. So now we're back on pure black. Let's just make sure that we're on the right layer, we're on details, and we are on our pens. So what I'm gonna do now is I'm just gonna go in and I'm going to start just drawing in some of these details. Now you'll notice when we scale down on this car, the naturally what we're gonna do is we're going to make these lines a little bit thin compared to the original lines that we had. So if you want to thicken it up again, that's fine. But I actually like it like this. I like to have varied lines in my illustration. So just like this, what I'm doing is I'm just going over these we'll areas. I'm just going to add in maybe some details and then maybe snap back to the smallest size that we had before. And then just go in, throw in some lines to make this look a little bit more proper. And maybe just throw in some crosshatching over here. And then over here, just to make this stand out and add a little bit more contrast. And maybe this way, again, you don't need to do this. If you don't want to do this, just keep it as it is because we are going to come to the coloring in stage. And once you color it in, then it looks a lot better. So just like that, just adding some of these broader lines, Just continuing with this crosshatching look which I absolutely love. It just gives it an old school kind of children's crosshatch, book style vibe type thing or words in one go so that you know what I mean, You know what I'm talking about. So let's just carry on. And again, just bring this over here. Maybe add a little bit too dark there. Add a little bit of dark to bring out those shapes and maybe just throw in a couple of lines like this. Doesn't need to be accurate. Just go buy estimate and just make sure that you're happy with it. So again, maybe some crosshatching lines here. This side because I want this side to have the darker part to it. So feel more cross hatching lines here and there, maybe some crosshatching lines here and then on the back part of the car. And maybe we could go in and just darken where the windows are. So I think I'll just go into pure black. They're a little bit a window over here, pure black. And then maybe just over here. And then we've got this T roof where we've got a little bit of glass on top, just like that. And then pure black down here and my leave a little white bar at the bottom there. And then just like that, we've nearly done so there you go with the wheels. I'm not really that bothered whether they perfectly round. If you want perfectly round wheels, you can add them in yourself. Absolutely fine. Let's do a punchy Back. Look at that. We've completed our four main elements of our illustration. Now what we can do is let's carry on and move onto either this one or this one here. 11. Circles & Snapping: Okay, welcome back. Let's now continue with the right side building that we have over here. Let's get our Apple pencil ready so that we can start that excitement all over again. Okay, now what I'm thinking over here is to maybe have a kind of circle element. So what I'm gonna do now is, and you're going to do this little circle and I'm going to hold down, can you see what's happened here? Are basically held down and it's become a kind of semi perfect circle. And to get that perfect circle, all I need to do is just tap down with my finger and it's become a perfect circles if I let go, you can see it's become more of a squishy, washy circle. But if a top-down becomes a nice perfect circle, so that's the next tip for you to note down. If you want the perfect shape, just tap down with your finger once you hold your pencil down from 1 to the other. So I'm going to have it at around about this size probably. Yeah, that's good for me letting go. And you can see there it is. And you can see that the width of my mark is really thick on that side and thin. If I had done more of a uniform mark, that circle would have been uniform. But that doesn't bother me because we're just sketching. So let's just do a bit of a zoom in, zoom in on this so we can concentrate on this one. So what I'm gonna do is I'm going to maybe just go in and just darken the inner part of that circle. Because what I'm thinking here is maybe do another circle inside like this. So do a really, we believe what we circle, hold down on the pencil and then do that, tap it, tap. And then you've got a nice circle inside that. You can see that circle is a bit offset. I want it to be a bit more centered. So in order to do that, Let's get our tools back. And if we just go in and click on that S like we did with the car. Click on that S shape free hand over here, and let's just draw around that circle that we just did. Finish it off, clicking on the arrow. And we can move that to the position we want. So there you go. Moving it to the position and you can see this blue line popping up over here. So you can see over here we've got this blue line popping up. That's just basically that guides snaps to and it's just an option within your actual settings. So we've got snapping on here. So if we turn that off and we may be have settings to non snapping and non-magnetic. And if we do the same thing here, if we move this around, then it's just going to not have those snapping and magnetic guides on. So if you don't want them on, turn them off. I quite like them sometimes. I like to turn these back on over here. Another tip for these snapping. There you go. You're getting loads of tips in this class, aren't. There you go. That's little bit snippy snap. And I'm happy with that one. So let's just uncheck both of them and it's looking good. So I'm thinking of doing over here is maybe do like a clock type things that kind of an ornamental clock. So I'm just gonna do a hand-drawn little dot in the middle. I'm not going to bother with a perfect circle anymore. And then maybe just have some numbers here. I'm not going to really bother too much with how I do the numbers. They don't even have to be accurate. One VV. And what is it? Is it v1 and then V1, V1, these beautiful Roman numerals. But again, I'm not really bothered, and I think it's X1 or is it x x y? Now, I'm not really bothered what it says. It doesn't have to be accurately just indication. So I've just got these little markings that represent numbers. You don't have to do these. You can just put 12345 if you want. But I'd just like to add that nice funky lock. So what I'm going to do now is just do a, another circle inside there. And this time I do want it to snap to a nice circle, so that's approximately right. I'm going to leave it like that. I'm not really bothered about getting get banged on symmetrical. So let's just do a snap back. Get rid of that interface. And you can see we've just made this little kind of clock tower shape over here. So what I wanna do now is maybe just add in some details over here, just coming in like this, and then maybe just throw in a couple of them, cross the hatching lines to just add that texture that we've got going on in this overall illustration. So just like that, following those lines coming down, nice and easy, keeping it all relaxed, not stressing out. And we're looking great. So just like that, then I'm going to come in with some crosshatching is going in this direction. 12. Shop Design: I want to move on to this area. And I think what I might do for this is let's design some shops. Yes, let's design some shops. So what I'm gonna do is I'm just gonna go in at, around about this level here, just dropping some lines down like this. And then create a kind of like shelter type of thing that you see in the markets where you have this shelter coming forward. And then you have these kind of like bars coming up front, which look great for visuals. And then maybe a box that over here. If I just do a scribble wiggle on their squiggle wiggle on there. And it looks like we've got a box full of maybe, I don't know, footballs or watermelons or something to eat, something edible or something to play with. So there you go. How easy was that? I just created this little extension that comes out and then maybe just go in, darken that area, throw in a couple of lines down and it's looking great, so easy to do. Just get creative, throw the lines and make it look a bit realistic. Again, I keep saying realistic, but it's really not realistic. It's just make it look a bit more convincing. I guess that's the right word to use convincing. So you can see that we've got this little thing coming out. It represents some type of a stall or a market corner where you have Some products, so that's looking good. And what am I do is I might have one coming across both of these buildings here. So one down here, just like that. And then maybe have it coming at this angle a little bit higher. Just like the other player around. You don't have to position this in the same way that I'm doing and just throwing them lines from the top. So we've got this kind of sheltered roof extension coming out and then maybe throw in the bars that come up the front. A little bit dark there. Maybe have one bar there, another one there, another one here. Then nice little base for them. And then here we could possibly have some more baskets that are going up that front part. And then we can have all sorts of things in here. So maybe we have some bread sticks, nice kind of big X coming out down here. It could be like a bakery shop, couldn't say, Oh, yeah, quite fancy and nice, but gets some way. Just subway. Oh, I'm getting hungry now. So there you go. So these could be some massive begets. And then over here we could put maybe have some pastries, are some croissants or anything like that. It can have these curvy, curvy shapes or it could be whatever you want them to be, just like that filling in these areas. And then maybe here we just have some round ThingImage eggs or bits and bobs. So it just looks a little bit different and it looks rather nice. So let's now maybe adding some details on the top parts of these so we could have a nice window here. Let's throw in a nice window on this front shop that we've just imagined up and dreamed up in our whimsical drawing, a little window there. Little criss-cross that looks nice. And then maybe a nice pattern on the roof. I like to do these little straight lines. We have these in the UK, in the houses that we live in, areas that were from. So I don't really like the way that turned out because it got a bit too messy. Don't want it to be too messy. So there you go. That looks cool. And then maybe finish it off with some tiles from roof tiles that go across like this. And then drop in a couple of lines that come down. And that looking fantastic. So let's continue maybe over here and have some smaller ones. So maybe on this one at the end we just have a small window. And then maybe on this one we have a longer window. Just throw in some variation. So it doesn't look the same and doesn't look boring. Make it a little bit interesting. Then, how about this roof? We could possibly have thicker lines going across like that. So it looks pretty cool. And maybe how the thicker one here as well. And then the same I'm just going to throw in those roof tiles like I did before. Chrissy cross lines coming across. They don't have to be straight. That can be nice and wonky. So how about on this one? We probably do, I don't know. Maybe maybe do the same as the first one. We'll do more lines coming down. So I think that's looking to actually wants to throw in a couple of lines this way on this one as well. Because that's what I felt like doing. So that's what I did. So that's what it's all about. Just enjoy that journey. Enjoy that creates an expression. Whatever ideas pop into your head, just throw them down. Don't worry about them. Don't think, Oh, is this going to look right? Is it not going to look right? It makes no difference at all. It's about having font. So what I'm gonna do here is on these kind of iconography tops, where we've got these extensions coming out. I'm just going to darken maybe one and leave one light dark and one, leave one light dark than the other. And just do that alternation. Because sometimes you have that Don't you want these kind of market roof store tops. We have these kinda flag material coming out. And it's nice variation. And then later on we might add some color to this, and it will look quite nice. So what I'm gonna do various now I'm just going to throw in my cross hatching lines. We're not gonna do any brick work here because I don't want to spend too much time on there so many. If this wasn't a class I was teaching, I'd probably really go into this in a lot of detail and do this over a course of maybe two or three days. And I've really go in and flesh out as much detail as I want, but it all depends on the mood that I mean, sometimes I want to do a quick sketches like this and sometimes I'm just wants to keep going on and on. Let's do a squeeze back and look at that fantastic. It's completely taking shape. And it's becoming a nice little scene, a whimsical scenes. So what we can do now is maybe let's do this area here before we start doing the midground details. So before we do that, I quite fancy having a milkshake, so I think I'm going to go get myself a milkshake and I'll see you when I'm back. 13. Teacup Area: That was a nice chocolate milkshake that will know it hit the spot, hit that spot again, but that chocolate milkshake. Okay, let's get back to it. So now I'm going to concentrate on this area here where I had my laptop. So let's maybe do a Zoom is zoom on this one so we can see what we're doing and are thinking of maybe doing something a little bit more whimsical than usual. So maybe throw in nice line there and bring that line across, and then maybe bring another line. So what I'm trying to do here is I'm trying to create this kind of cut out effect where we've got the surface here and then we stepped down into this bottom area where we have a another surface. So what I'll do here is I'll just throw in a couple of lines so that this looks a bit more convincing. So it looks like we have a nice little area for maybe people to just chill out and relaxing so we could possibly have some kind of round things over here that I maybe just little pots or something that contains some nice treats or something like that. So maybe just a couple of dots there, a couple of dots there with maybe some boxes. And then again over here. And then what we could do is we could have a nice table here. So why not? Let's draw a nice table. So when ice roundish type table, and then how about having a nice cup of tea? Yeah, why don't we throw in a little cup and then maybe a teapot? Not that I'm a tea drinker, my wife's a tea drinker and a coffee person may as you know, me and my coffee Don't get me started on that. So you're throwing a little teacup, tea and tea cups just looks so much better than just a boring coffee cups. So maybe throw that in there and then throw in a couple of lines over here for the edge of that table and then maybe have like a chair over here. So just like that just indicates that we have a chair and then another chair down here. Throw that chairing little bit of shade on that. And then maybe a bit of a cross, a cross hatch. Churches make it in line with what we're doing. And then maybe just throw in kind of a border over here, just a little border. And we could even have maybe a ladder. Let's throw in a ladder. Let's make a little louder that we can step into this nice little area, this kind of like step-down area after having a stroll in the market or having, having a cake in the bakery, you could just come here, sit down and relax, and just get these little steps or this staircase down. And we can just enjoy a nice cup of tea. So they were spinning back on that. Hungry or you go look at that quickly. Just did a little area where you can chill out in. And maybe we could just throw in a couple of lines over here just to make it look nice and fit it into that overall textured look. So what I'm gonna do is I'm going to squeeze this a little bit back. And then maybe add kind of like a railing over here to make this a bit thicker. So just like could be like a border or a railing to this step-down area, this step Town TI area can have a nice pot of tea and maybe a scanner. So you go actually quite fancy SCOM as well with some fresh cream. That'll be a nice one, wouldn't say, I wouldn't be having tea, I'd be having coffee with it. And I said Americano, nice, strong black Americana with no sugar. That's the only way to have it. So let's just carry on. So you can see what I'm doing here. I'm just literally just going in darkening this area to create a bit of contrast, make it look a bit cool. And I think we're going to leave it at that. But what I'm also thinking of DNAs maybe throwing in kind of a fence. So if we have like a fencing over here, that might look nice. So just throw in a fence, kind of like one of them, small fences that you get when you gardens just so that you don't get your neighbors poking their nose. The little nose is in to see what you're doing. Because we want to have this like a nice private Tea Party area where no one can see us and we can just enjoy it with our family or just by yourself. Sometimes it's always nice to just chill and have the nice relaxing cup of coffee or tea and biscuits. So you can just get away from it at all and just chill out. And that's what it's all about house. So maybe we'll just finish this off down here and then create this kind of fencing thing that goes all the way around. And it's working God, look at that and whimsical doesn't get more than this, does it? No, it doesn't. Okay, let's just get a bit of a tail on that. So we've basically created all the elements in our drawing. And again, I've actually forgotten what these bits were from the original reference image. And there you go. You just lose yourself in your whimsical inspired little sketching doodles. So what we can do now is we can work on this area here which seems a bit blank. So what we might be able to do is might be able to just throw in maybe a kind of a pavement area that surrounds the buildings. So just like this, I'm just dropping in this kind of edge. Then maybe making gets into kind of like a stone pavements. So I've got these little tricky things over here, just coming down, making it look a little bit more convincing. And that's looking good. So maybe have a few more of them over here. So again, if you're following this step-by-step, don't worry if you're not getting the exact details I am doing yours could even look completely different. It's no problem at all. It's just about getting those creative ideas down by using this reference to really come up with something unique. And then when we have a look back at it, it'll be like, Wow, I didn't even realize I use that image or I used some pots with some pencils in it, awesome pens in it and a book. You would never be able to realize that once you've completed this, especially if you don't see after a while. So that's looking cool. I think that's rather nice. Let's maybe throw in some lines to give it a bit of direction over here. So these could be like pavements and slabs on a pavement that just come out like this and then maybe a couple going that way and then a few coming here. You can see we're just filling in that area to just make it look a bit nice. So just like that. And so this building on the right-hand side, it's like it's completely away and we're on a raised platform over here and this is a bit further apart. So that's looking good. What I might also do is I might just drop it in a little kind of pavement row type thing with these little curvy curves. So just these little candidate C round shapes just coming over here, just randomly throwing them on. And that will give it a nice bit of texture for when we start adding in the tonal values. So just like that randomly, the more random you make them, the more convincing they'll be. You try keeping them all the same shape. And sometimes it looks a bit robotic. It doesn't look as whimsical. It looks a little bit too straight, doesn't it? So that's looking good. I'm happy with that. So let's do a punchy back. I think we're nearly done with that initial sketch and crosshatching details. I think it's coming out pretty nice. So the next step now is to work on maybe a couple of things in the background so that it doesn't look to bear. So let's move on to that one next. 14. Background Design: Okay, welcome back. Let's now finished this lovely illustration of by concentrating on the background. So we've got this nice space in the background that we can come up with some ideas to fill it in. So grabbing hold of the Apple pencil, what I want to do now is let's get the interface back. And again, it's gone on a switch, a switch, we're here, it's the wrong way round. Let's just get that right. Now what I want to do is add a nother layer. So with this one, Let's add this as another layer and call it background. Now, you can actually work on the details layer with this. But sometimes when you're trying to come up with an idea, it might be a case that you don't like it, so you can easily edit it out if it's on another layer. So let's just put down background. So there we go. Lovely job late background and come out of there. It's active. Super. Okay, now what I'm gonna do for the background is I'm thinking maybe follow this line that I've got here. So this angle that I've got going here, follow something similar in this direction. So maybe just throw in a line that goes all the way across just like that. And then maybe add in some bumpy bumps down here to effectively be like a edge of maybe a lake or a river or a separator between these buildings and something going on in the background. And yeah, I think I'm gonna do that. So let's just do a couple of lines like this. Make it nice and loose, just like the overall style of this sketch going in like that. And then maybe just throw in some more of these bumpy bumps like this just randomly over, don't like that one. Let's do a double tap to get rid of. It's just throw in maybe a couple of these peaky peaks like I like to call them. Make them nice and wiggly, wobbly. And that way it looks like we've got something interesting going on. I'm there. So just like that, throwing the men. Fantastic. Now, to give this a bit more perspective and interests, how about we do a little bouncy bouncy hair or maybe a couple of 0's. So quick little zoom in on there. And let drop in a couple of nice boat. So a nice little triangular style boats, like the ones that you get with paper where you fold the paper up and it becomes a kind of boat, but you can float around on a bit of water. Let's do a couple of these. So maybe one over there. And let's just do a squeeze back and see how we're looking and we could possibly fit one here, but do you know what? I'm gonna go in? And let's do some magic. So let's go in here and let's select the actual boat. So again, because I've got a lot of drawing here, I can't just select just the boats area. It will select everything. So let's do what we did before. Let's use the freehand S2 over there, that kind of cutting tool. And let's go in and draw around there. Do a little tap on that one, and then maybe make this boat a little bit smaller. So I've got one down here. And what can also do now is so this is a, another tip. What we can do is we can go ahead and make duplicates of this. In order to do a duplicate of this, all we need to do is let's go back and select it again. So we're just using that tool, that marquee tool. And you can see the kind of actions we've got down here. One of the actions is copy and paste. So make sure it's still on free hand because we want to just draw around it. So let's just draw around it there. And then all we need to do is click on Copy and Paste. And what that'll do is that'll add it on another layer. So you can see here when we just created that background layer, when it cuts on copy and paste, it's put down that bolted bolt over there From Selection, so we can do that. And let's maybe click away from this now. So we've got, we've got that one selected, what we've just copied, where it says From Selection. And if you just come out of there and then do a pinch back, now, if you hit that arrow button, it will just select the boat so that's on its own layer. And then what we can do is move this, make it bigger, or just move it around. And you can see this is a copy of that one there. So what I might do is I might place this one over here and then just squeeze it. And I don't want the dimensions go away. Dimensions here just want to do a little squeezy, squeezy there. And it could be worth not having snapping on at this point. So if we go to snapping, if you remember what we demonstrated before, if we click on this snapping button, get rid of the magnetics and snapping. And what that'll do is it will just come out of there. What that will do is it'll give us more free movement to place this with those, without those blue lines popping everywhere. So maybe have this one over here. And then again, what I want to do is I want to maybe do another copy and paste, but instead of going on that one, we can also do the copy and paste like this. If you do a little swipe across and you click on duplicate. You've just gone ahead and duplicates it, that one. So that's a new one that you've got. So you've got two bolted bolt copies and you've got one nice on the background. So let's just come out of there, do the arrow and that will highlight the copy. So let's move the copies. So just anywhere on the canvas, just give it a move and we've got our third boat. So let's just drop in that third boat maybe down here. And I think that good to go. So in terms of perspective, maybe make this one a little bit bigger. So if we go back to that first one, so from selection, that first one that we copied. And if we come out of there and hit that arrow button, let's just make this a bit bigger. So I'm just going to stretch this out so that it looks a little bit more realistic in comparison to the ones on the backs of the ones at the front are going to be a little bit bigger. And then the further away you get, you're gonna get smaller ones. You can even place it here if you want or you can even have half of the boat being placed here so that you don't need the full boat. So I might do That's actually I might make this a bit bigger and then just place half of it just over that mushroom house. So it looks like it's behind there. So if we come up to there now, remember, we're currently on that layer that we were working on. And if you can see some overlap and just get the eraser brush and just erase it from there. But again, you won't be able to see much overlap because we've got a lot of crisp cross hatching that kind of hides it away. But just out of interest if you want to get rid and just use the eraser tool and we're good to go. So let's just do a snappy back and get rid of that interface. Look at that, looking nice, isn't it? So we've just added that background so quickly and easily. I'm not going to add lots of details in the background because I just want it to be far away in the back. The concentration focal point area is at the mid ground and the foreground. So that's about it now. So basically what we've done is we've come up with our nice little sketchy sketch. And if you want to add in more details, go ahead and add them. If you want to maybe add in a couple of lines, like some cross hatching lines on where the water area is. You can do that. In fact, let's just quickly do that. Let's just go back to the one that says backgrounds. We've got background there. And less maybe just add in some thin kind of cross hatching lines. So let's go back to our smaller point that we had smaller points selected. Get rid of the actual interface and maybe just have some kind of sushi or she lines underneath that both the areas to represent maybe erase going on in the bath is like this. Trio or boats having no race and then maybe just drop in some random lines over here just to kind of make it gel together with the overall look and feel of this illustration. And again, don't need to overdo it. Just going to stick to these lines going in one direction and then maybe just add in a little bit more darker underneath the boat. So give it a shadow effect. Just to add a bit more interest, isn't it? So that's it for that. And then on the back, I don't think I'm going to bother doing any crosshatching hatches on the back. I'm going to leave it at that. So the next stage now is that we are going to go ahead and start adding in our tonal values. But before we do this, I'm going to advise you to do is just go back and click on gallery. So it comes out of your actual active canvas and just make a copy of this. So if we just do a click over here and we've got duplicate, if you just duplicate it there. What we've done is we've created a copy. And the reason I've done that is it's always nice to have a copy of your ink work or your pencil work of the illustration that you have before you start adding tone and color and loads of textures to it. It's just a nice reference and it can also be used as a print off kind of coloring page. So if you like coloring with manual, more traditional colors, then you can go ahead and just print this out and do the next stages with actual materials because I'm always a fan of traditional, but digital is great. However, the field of traditional is just out of this. What else? They just can't imitate that or mimic it on any tablet. So I'm going to say do that just as a keep safe where you've got yourself a nice ink work illustration that you've done. So going back, let's maybe leave the ink one there and let's work on this one here. This one's gonna be our active one. And let's get ready now to add the tone. 15. Tonal Values: Okay, Welcome back. Hope you had a nice little break. I certainly did treated myself to to cheese and onion pasties. Very good. Okay. Let's now continue with the excitement. So just grabbing hold of my Apple Pencil. And now as we said in the previous lesson, we've done the sketch. All the outlining is gone, the textures done on it with the crosshatching. I'm happy with the overall look. Let's now move on to the fun stuff and this is all about adding tones. So I usually do this in my traditional artwork where I'm doing watercolor, especially when I'm using inks. So I'd start off with an ink sketch and add textures with crosshatching. Then I'd go in and add tonal values. And I usually do this with water-based markers in different shades of gray. And that's what I'm going to pretty much mimic in this next stage. So let's get our layers back up. So currently we're on just the background layer there. We added the bowtie belts. If we just go on the top layer and add in a new layer, and let's call this one the tonal value. So just rename it tonal values. Just call it tonal values. And I've called it tonal value, That's fine. I just leave it at tonal value or you can just call it tone. That's absolutely fine. So what we need to do now is we need to bring this layer, bring it right at the bottom, just above our reference layer. And the reason for that is so that the actual marks don't cover those pen ink crosshatching marks. So while wants to do here is I'll just do this with my finger, just grab hold of that, and then drag it along and just place it in between the reference and the sketching layer. Although the reference under sketching layers are not turned on, we can just place it there so it's out of the way. And then what we need to do is make sure it's highlighted and come out of there. So that's now ready to start. Next step now is to select our brush. Now, I like to use the standard brushes that are in procreate. If you're more familiar with the brushes that you're using on a regular basis, just use them. It makes no difference which brush you use. It's whatever you're comfortable with. But try using a brush that has more of a flat look rather than a textured look, purely because that's all going to come through underneath the actual cross hatching texture that we created. So we don't want it to interfere with that. We want it to be more flat. However, the size, shape, or the overall look of the brush doesn't really matter. So I'm just going to actually go ahead and just use this basic round brush. You can also use maybe the watercolor brush. Now, again, that's going to probably come in the next stage when we start looking at color. For now, I'm just going to stick to the standard round brush so that is selected. And now we can get back on our screen. Very good. Okay, so what I'm gonna do is let's quickly just actually before we get rid of the interface, let's just make sure the size of our brushes, good. So we've got the size to around about 12, 13%. Our opacity is maybe 4050. Let's, let's put it, let's put it to 6060 on the opacity. And we've got, how much have we got? We've got around about 13% brush size, so that's fine for now. And what I'm going to start basically doing is I'm going to stop Bringing in some kind of tonal values where I'd like the areas to be dark. And then mid-tone values and where I want them to be the lightest, I'm just going to leave them pure white. The color that I've selected here is just a standard black and that's fine. You don't need to do a gray or anything like that. Just keep it to standard black and see how it goes. What we'll do is we'll manipulate the color as we go along. So let's come out of the interface. Let's just test the brush out. So just on this road area here, I'm just going to start doing a few strokes down if you can see that clearly on the camera. But I'm pressing down very lightly with a bit more pressure. And you can see now we're getting this nice kind of gray color coming on. So that's exactly what I'm looking for. Your Apple pencil will play a vital part here because it's going to have the pressure sensitivity on it. So the harder you press, the more darker the color is going to be. So I've just added this nice flat layer of light tone of gray. So that's great for that part. So let's now move on to the pavement. So again, I'm just going to be pressing a little bit harder with this. So it's slightly darker than what we had before. And I'm just going to go ahead and just color this in because this is the kind of the pavement that's going across all this image where the actual elements of the house is a resting on. I want this to be more of a flat color because we don't need to go in too dark at this instance. So again, I'm just adding gain a another layer or another pressure to just darken it just ever so slightly. And that's looking good to me. Now, while I'm going to do is over here where we've got this nice little whimsical fencing with the kind of table and the tea cup. I'm going to make this a bit more contrast is. So what I wanna do is actually we'll just squeeze this in a little bit. The reason I squeezed It's in it. So I don't start going over this kind of like interface area where we have the buttons. Sometimes if you go over it can mess it all up. So just making it a little bit smaller. So let's now go in over here and let's go in a little bit darker. So you can see now I'm going in a little bit darker now, adding in that tonal value to bring out some of that dark. So just like that, not pressing too hard, maybe pressing around about three times as much as what I was doing before to get this nice, solid gray. So again, on this side what I'm gonna do is we're going to do it a little bit lighter on this side. So it's a tad lighter than the one that we just did here. So just like that, a bit lighter that I've just done that over there for the table. I'm going to leave that for now. Let's now start concentrating on the building. So for this one, we've got the dark down here. So let's just add in that nice layer of dark on this side and again on the roof side there, and then on that chimney and then maybe go in it again. Fantastic. And then we've got this step over here. So just on these steps, maybe just add a little bit of dark on the step just to get a bit of cast shadow. Very good. And then we've got this area down here, so we're going to have a little bit more dark down here. And then on the top area, a little bit more dark lights on this side and dark on this side. Okay, now what I'm gonna do is I'm just going to leave this side completely blank. Just leave it white because I want it to be a nice highlight going there. And now let's shift to this building over here. So on this panel fencing thing that we created where we've got these lines, Let's make this nice and dark. So again, one layer pressing down harder with a second bond to give it a nice darker look. And again, just repeating this process, not going into hard straight away. Just kinda really adding layers effectively. And this is what I do when I use my watercolor brushes. I just go in and add layers with a mid-tone medium gray marker. It is just great to build that value. So again, I'm just going to maybe add in a little dark area over here where it's hiding behind the building line. So just like that, a bit more darker there. And then we can just add a final layer on top, which will intensify it. So it's looking very good. So you can see how quickly by just adding a few areas of dark, it really starts bringing the kind of 3D element of this illustration, popping it out and making it look quite nice. So again, on this side here, I'm just going to the face of the clock. I'm just gonna go ahead and just go in with a nice layer, like so, just like that. And then I'm going to darken up these areas. So just underneath the clock area there and don't worry if your pen bleeds over to some of the elements, it just adds to that visual effect that gives it a more of a traditional look. Try not making everything perfect because otherwise you're just going to stress yourself out. And as I keep mentioning in this class and in any other of my classes, art is not about stressing yourself out, it's about relaxing. So just chill out and give it a go. What I'm doing now on the inside here, I'm just going to add a bit more of a shadowy type thing here to make that element pop out a little bit more and then maybe adding another layer here. Because what you're gonna do is you're going to slowly keep adding these layers. And then you realize, oh, I need a bit more dark down here, and then maybe lighten up some areas. It just works as you go along. So just give this a go, nice and easy. So we've got this element here again because this is in the dark. So what we'll do is we'll just add in a bit of gray. Now you can see that this building is kind of blocking the view over here, so there'll be a deeper shadow on this side. So what we can do this, go in even more darker in this area and maybe just try imitating the shadow shape of that building. So I'm just going in with a diagonal this way. And you can see it looks like it's giving a kind of shadow effect on the other side of that house buildings. So it's looking quite nice. So I'm happy with that now for the tone, I don't want to overdo it. That's the thing with this kind of tonal parts of the journey of this sketch, you don't want to start going into dark, otherwise you lose the contrast and everything becomes a bit blurry. So even if you do tend to go in a little bit dark, then just go back, take a couple of steps back to the two finger touched to just tone it behind again and then you can move forward. So what what's kinda catching my eye now is, is this fencing area here. I forgot to actually do this. So I'm just gonna go in and darken that fencing area because we want it all to match how we're creating these effective shadows and highlights. So again, I'm just going to maybe darken this area again. And then I've got this inner part just slightly darken that, maintain a bit of contrast between this area and that. And then just here, we've got the darker area. Maybe just add a little bit more of a dark shadow there. Fantastic. And maybe just do this little flicking action upwards. Just add a bit of smooth on there. So let's continue. 16. Darkening Areas: Now, I think we might go a little bit more dark where we've got the bass part of the building over here. Again, you can go as dark and light as you want. What will happen is you'll realize when we come to the coloring stage that the more time you spend on the tonal values, the more easier the coloring stage becomes because you've already identified and defined where the darks and lights are already going to be. It just makes it a breeze when it comes to adding color. And it's a lot of fun, isn't it? Of course it is. Okay. Let's now move on to the mushroom house. Suffer the most room house my darks gonna be over here. I'm just going to start going in really lightly, gently, just adding in that nice bits of dark. But I don't want to be down here because the light source is coming and hitting it on this side. So again, nice and dark over here. And then on the actual building part of the structure part just nicely bringing it down nice bits of dark and then leaving this area whites or just with a slight hint of gray on it to just give it that pop. So again, going in over here, if you want to make your brush smaller and just go in and just slightly bigger brush to the level of detail that you want it to go-to. So just like that, I just made the brush a little bit smaller so that I can fit it in this area over here. That's looking okay. And again, maybe just darkening up some areas down here and I'll leave that top as it says, it's looking good. Okay, Now, let's now work on this building. So I'm gonna make my brush a little bit bigger again. And then same, same thing, but we're going to continue just nice and dark on this side. Pressing down with medium pressure, following it up on the roof, a roof. And then on this middle panel, Let's go in maybe a little bit lighter. The first panel, still keeping it dark because we've still got a shadow on this end. So again, nice and light on this area. And then this right-hand side, just a tiny bit of color or gratia, That's it Again, just leave it white. So that's looking good. Maybe intensify the dark over here at the base, at the top, and a little bit down there. And I think this one is good to go. Super, right? Let's now move on to the beautiful shops, the market stalls. And this is going to mainly be in light. So we've got this front-facing part of the building. This is all going to be in light so we can do is you can actually go ahead and start doing the roof. So these roof tiles will be nice and dark. Night sweats a shadow, shadow there. Really to add that contrast to the elements of this picture. And continuing just like that. And then we're going to have some form of shadows where we've got the products and the food basket things, we've got the bread, we've got whatever else it was, whatever you wanna call it an inside the actual enclosure, underneath the canopy type thing, we've got a nice bit too dark. There are brushes a little bit big for this, maybe just bring it down. Then again, last bit too dark there, a bit too dark there. And what we don't want is we don't want to make all that beautiful food dark. So let's get our eraser brush, makes sure the tip is nice and small. And we'll just go ahead and basically erase out where we brought those food items and that's how easy it is. I mean, if you're using traditional materials, then you're not gonna be able to do this. You have to use white highlighter pens if you've accidentally gone over it with a marker, but there you go. That's the advantage of digital. So let's just go back to the brush. Fantastic. Okay, Now there's gonna be a little bit of a shadowy area down here, purely because we've got this canopy being extended. I'm just going to make that a little bit bigger my brush. And then just add in a little bit of shadow over here, and then maybe a little bit of shadow on the top part just to give it that visual interests. And then maybe just a slight bit of gray on the left-hand side over here. And I think that's about it. Brilliant, right? Let's now look at the car. So with the car, maybe just nice and dark on this side and maybe a little bit of dark on the top. And that's about it for the car. So we've got this area here where we've got the paving stones, nice and light there. Maybe we just add a bit of a shadow underneath there just to give it an indication that we have a bit of a cast shadow going on down here just to add a little bit of realism to this whimsical world. So just that, we're just following the edge that meets the pavement with a nice little shadow. Just make it look a bit nicer. So I think that's looking a rather good, okay, Now we could do maybe a shadow underneath the car here. We can actually add these in later on if we need to. But I think let's just maybe add in a little bit here, so nice and dark underneath the car. And what that'll do is it will just make it pop rather than looking flat. So let's maybe darken up this area because these kind of stone edges are not really going to be catching much light. So they're going to be nice and good tone of dark there. And then again, because the light's coming in this way, maybe we could just darken up the pavement or kind of like that cobbled road. And the cars on just darken it up over here. And that's looking fantastic. Okay, now let's quickly finish off the table. When we're looking at the table over here, what I'll do is I'll just make this a little bit bigger so you can see this better on the screen. So at the table, I'm just gonna go ahead and again, just add a bit too dark there. We've got little bits of dark where the floor is, maybe a little bit of dark here. The light's hitting in this way. So just a bit more dark. Leave that one as it says, it's a little bit of a shadow on the floor. Shadow there, shadow there. And with the chair, this one can be nice and dark on this side, that area of the teapot, just to give it a bit more tone. So pinch you pinch. That's looking good, right? The only thing that we've got left now to do is the background. 17. Lightening Areas: The background. Let's get rid of that interface because we don't really need that interface. So get rid of that interface. We can see the background a bit better. So with the background and it's going to maybe add a little bit of gray on the surface of this water area. Just maybe a little bit there, a little bit going down here, and then just underneath the bolt areas just to give a bit of a shadow. You can see just by adding these little squiggles of gray, it really makes it pop, doesn't say it looks wonderful. So you can leave it like this. You don't even need to color. It's only if you're just like black and white, which I absolutely love, then you can just leave it like that. It still looks really nice, especially with the deep contrast of the darks and lights. So let's just continue and make some more darker areas down here. Okay, so let's now look at these little peaks and maybe just create a bit of a variance from dark to light. So where they meet each other in the joint area here. Just add in maybe a little bit of gray just to make it look a little bit more 3D and give it a bit more dimension, rather than it just looking like flat little bundles of whatever. They just leave them like that and just keep adding to, just make it pop a little bit. And I think that looks quite nice. So let's just do a zoom back so we can see the extent of the whole thing. They can see I've got these lactic lines coming up over here, but I'm not bothered. Don't worry if you've got little bits and bobs of lines or little marks here and there. It just adds to the interests of the overall image. And sometimes you can't even tell that you did it digital, especially if you have loads of scribbly rebels everywhere. So that's sometimes adds to the effect. So I'm happy with that. Let's maybe just adding a bit of dark in this area. So that age is contrasts with this building over here. Just like that, just adding in a little bit more dark. Not too much, just a little. And then maybe just making this building area completely dark. So just like this, make it completely dark and don't worry about the windows that were covering up because we're gonna be able to erase them out, which is what we're gonna do next. So just like that, I think that's looking nice. So let's just do a punchy Back. Fantastic, right? Let's now get our eraser brush and make it into a nice small point, around about 4%. I mean, it depends on the size of the tablet that you're working on. If you're working on a big tablet, venule size is going to depend on how big the elements are that you've drawn in. So I'm gonna go to maybe a size 4% there. So that's just come out of there now. So what I'm gonna do now is I'm just going to search for areas that we've covered up with the dark. So let's get the interface away. Let's maybe start here. And then I'm just going to start erasing them out so that we can see the elements of it better. So you can see the door, they're bit of the window, and then we can even add in some highlights. So we might have a bit of a highlight here. So you can see how easy it is to add highlights without actually adding anything which is literally taking away some of that dark to produce a bit of a contrasty look there. And then maybe a little bit on the edge of these steps just to make it pop a little bit. So that one's done. And then the mushroom house, maybe some down here, and then maybe just erase some of this area just to give a bit of a glow. And then we can work on this one here because we did cover quite a lot of the windows here. There's a window there and a window over here. And then where the edges of the roof, we can just go in and maybe give it a little bit of a highlight, a bit of a Gleason away from the complete darkness. And then here again, stony stones. These could just be white stones. So that's looking nice. So can we need to know any of these? Maybe we can. It's just a case of going through them and just seeing where you want to pull out the whites. And then with the car maybe just highlighting where these kind of window areas. So we don't have them all muddied up, so the wheels as well, and possibly on the edge of the actual fencing that we created just on the tip of it may be because the light is coming in this way. We could just maybe throw in a couple of lines to just given element of bright spots that are just coming out just like that. And I think that's good for most of it. Now, how about this one here? We could actually go ahead and clean up this clock that we did. So just like that, don't want to clean it up too much, wants to remain in a little bit of shadow, but that's looking nice. So again over here, just going in and just creating some kind of dimension with adding some highlights. So it all doesn't look like there's a huge shadow covering the whole piece. So let's do a little bit maybe here. But we've got these lines and just bring in very gently a bit of light just to give it another interesting focal points. So just like that, that, and that, and I think we'll leave it at that. So that's pretty much it for the tonal values stage. Now, we can relax and have a cup of coffee or hot chocolate or whatever you want. And then we're going to come back. So the coloring stage, so I'll see you when I'm full. It work then. 18. Colouring Stage: Okay, welcome back. That was a lovely Americano. Yes, it was perfect for just the way it should be. Nice. Black, no sugar. Fantastic. Let's get back to it. So we're now on the final stage of our beautiful, lovely whimsical inspired sketch. And what we're gonna do now is we're just going to add in that final layer for the coloring stage. So we did the tonal values there, so the tone is done, all the sketching is done. Let's add another layer. Now, for this next layer, what we want to do is we want this next layer to be right on top of this stack of layers. So we just need to click on the one on the top, add our layer three layer, and let's call it color. So this final one is just going to be that coloring in stage. And it's gonna be great. But before we start the coloring in and select the brush, what I want you to do is click on the N. And we're going to change the blend mode of this particular layer to multiply. So currently it's unnormal. Just scroll down and you'll see multiply on the top, click on Multiply, and then just come out of it, just tap on the layer and you'll notice that the n has now become right next to the checkbox. So now this layer is in multiply mode. And then what we want to do is just come out of there and select the brush that we want to use for the coloring in. So for this one, I tend to go for the watercolor brush. So you can use whichever brush you're comfortable with or whichever one you prefer to use, as long as it has some nice coverage properties on it, or even some texture lines, it really makes no difference. But the one that I always like to use is a watercolor occurs generally in traditional work. I usually use watercolor and ink, so I'm going to select that coming out of there. We're currently on that layer now in the multiply mode. And with the multiply mode, what happens is it basically doesn't go on top of what we have actually drawn, so we won't get like a thick coverage. Now I can demonstrate this actually, so let's just go back and just for demonstration purposes, if I click on that multiply and put it back onto normal over here. So if I put it back to normal here, you don't need to do this if you just watched for demonstrations. If I put it back to normal, I've currently got that watercolor brush selected to say I choose a color, maybe red. Just for example, I go in and I want to try coloring this in. You can see It's covering up my actual lines, line work that I've done because the layers on top. Now, alternatively, you could even put the color layer at the bottom like we did with the tonal value. But I personally don't like to do that. I like to have that nice deep dark effect where it's really coming through with the tonal sketch that we did and the lines. And I just find that multiply works great when you do it on top. And again, as I'm a graphic designer, I use Multiply quite a lot when I'm doing my photo editing and publishing work. So it's just an effect that I like. So that was without the multipliers. If I just go over it, you can see try coloring this n is just not going to work. It's going to look horrible if we go back and if we just go ahead and change that layer blend mode to Multiply, you can see it's gone behind the actual sketch, so it's effectively just emerging within the layer. And I think that looks fantastic. So let's just do a quick undo on this and get that right away from our lovely sketch. And make sure that we're back on multi-pass or on the color layer here. So we're just going to take it back now to the multiply. So from the normal, change it back to multiply if you just follow that step. So go back to multiply and come out of there and we're ready to go. So what we want to do now is change the size of our brush to maybe around about 12 per cent or something that will facilitate the shapes that we have. So I've got 12%, but we can change around as we need to. Now, let's find some nice colors. Within procreate, you usually get a couple of palettes that you get down here. So we've got the palettes here. If just click on the right-hand side, you've got the pallets option, but you've got the desk classic Harmony in value. Now you can use these palettes as straight as they are. I tend not to really use the palates. Maybe I start off with a couple of colors from the palette, but because I've got a lot of experience in using color from my graphic design and illustration world that I have from many years. I kinda know which colors I'm using. But if you struggle with this, I would probably say, grab hold of this color palette that says camp fire. If you've not already got loads of color palettes that are accustomed in your procreate pallet box here. So just grab hold of Campfire and maybe select a couple of colors. I think that's what I'll do. So that's something that you can easily follow along. You can get similar results like me from Campfire here. I'm just going to maybe select a nice. Orangey tone like this middle one down here. It's like a brownish orange shade coming out of there. And I'm gonna get rid of my interface. And then I'm going to just start throwing in a bit of color. Now you can see on this dark area here, it's very dark with a tone. I'm just going to go in and add that color on top. And you can see it's just adding that hint of color, which I absolutely love, the dark of the tonal value as added to the depth and contrast. And we don't need to really worry too much about color here, because most of the work has been done in the previous layer where we've got the darks and lights. I'm pressing quite lightly with that. If I go in a little bit harder, you can see it's bringing out a little bit more color and that's the effect that I'm after. So just like that, I'm going to pick little areas where I want this similar color to be. So maybe I want to have this color here where I've got these little boxes where that market stall type thing is, little kind of pizza. I can see just like that, nice bit of light over there. And then over here, similar color going on down here and maybe have this on the rooftop of the triangular house just like that. Just dropping that coloring. Beautiful. Okay, that's about it for that color. Let's just select another one. I'm now thinking more about a reddish tone. So I'm actually going to go away from the color palette and I'm just going to go directly into my color wheel over here. So if you click on desk going into the color wheel, I'm just going to bring this orange down to the red area. And then we're going to bring this, some more, this kind of saturation around about that nice dark maroon red. And for that, I want the mushroom house head to be that nice red color. So just like this, in that circular motion you can see it's just adding beautiful, gorgeous color. It's effectively like adding markers to a illustration that's done in ink, like a alcohol marker, but you don't have to worry about the market bleeding all over the place because we're working in digits or okay. So I like that red. I really liked that red, so I'm just going to go in, darken up this area and then leave the lights on this right-hand side. So again, going in again, darkening it as much as I can. We're on full opacity with a brush, so that's all good and just continuing like this. And I'm gonna get rid of my interface. Actually what I'll do is I'll just do a little squeezes, squeeze, good. We might need to change the brush a bit more. So we've got nice bits of red over there and then maybe change the brush a little bit smaller and do a little pinch, pinch. And I might add in a little bit of red over here on these kind of canopy, things that are popping out. So just a bit to read over there and then maybe some red down there. Just very lightly, don't need to fill every part of it and maybe have this one spread out a little bit more. Maybe some reds on this side. I'm just on this side. Do a pinching back. Yep. Looking good. And can we add red anywhere else? Will it look nice? I think that's it for the read. Actually, what I might do is I might make this little door red. You can see how I'm just picking little bits and bobs. I wanted to kind of like really add similar colors across the illustrations so that we have a bit of harmony and make it kinda gel together. So that's enough with a red. I mean, I might go back to the red later on, but that's fine for now. Let's now maybe just do a squeezy, squeezy on this. 19. Adding Colours: Let's select a nice blue color now. So with the color wheel, I'm just gonna go on the opposite side over here and click on this blue area. And I really liked that blue, that looks gorgeous. So that's kind of like a complimentary colors. So if you have a look at the color wheel here, we were here before. And if you just go on the opposite side, you pick in the complimentary color in that color wheel. And that's how you can create that real nice balance and harmony. So with that blue, what I might do is I might make this little house a blue, nice little blue house. So let's just go ahead and paint that in. So just like that, I'm not bothered about the Windows painting over the window because we can just erase them out like we did with the tone just going in like that, dropping that blue in, that looks really nice. And then I might add this blue to maybe these house, the house elements are pair. So we've got this kind of triangular roof part down here. The face of it can be blue there. And then maybe this one can be blue as well. And just varying it like this. I mean, you don't need to follow the same colors that I'm using, can use whatever colors you want. It's absolutely fine. Let's just bring that back in. Over there. We've got a nice bits of blue going on within this center left area. Maybe we could add a little bit of blue on the clock here. So just like this, I'm just slowly, gently just pressing down on the Apple pencil, just adding that little hint of blue. Now, let's maybe create some earthy tones. So with the earthy tones, this campfire palette is really good. So maybe let's have a green. So let's select this green here, coming out of that. Now, let's probably at the grain to this triangular house that we've got here. Oh, that's a nice green. That isn't it. Look at that water gorgeous color, that one green can't beat green a bit too green. So let's just carry on and just fill that in. Nice and slowly. Don't need to rush. And then just where this dark area is, just going to go in and press down a little bit harder on the Apple pencil. And that's just a great kind of effect that you can get with the Apple pencil where you have the pressure sensitivity and you've got this continuous income years so you don't have to worry about like your real markers running out of ink or dry it and go up. And that's the fantastic advantage of using digital bits of green there. Maybe have some green on the fence actually, let's make this fence a bit of green. So a little bit of green on the fence. Just like that, what we can do is we can actually get a zoom in, zoom in actually. So you can see this better because we've done all the constructs and we just want to focus on the color. Yeah, that's looking good. Just like that with the green. I might just stick to the green for the inner part of this kind of cut out a fence that we have green, that green there and maybe have some green on these kind of canopy flaps that are popping out. So just like that, just adding gain a little bit of grain to make the Canvas a bit bigger. So just continuing with this, just adding that green and it looks nice with the red, so it's a green and a bit of a red. Superb. Okay, Now maybe add a little bit of green on this edge of this roof. So just very lightly just press down and let that color come through. Now if you don't like this effect, because it's quite a dark coloring effect, then you don't need to do the multiply. You can just go ahead and add the color layer over here, just in-between the tonal value and that sketching layer. And what that'll do is that'll just give you that nice popping bright color. Again, as I said, I love this dark look, this kind of sketchy old school children's book, sketch style look. And that's absolutely fine if you don't like this look, but just give it a try. If you've not tried it before, It's always nice to experiment with different effects. So just like that, carrying on with that green, maybe just add green hair, I think. Yeah, I think let's go for green over here. I don't want to use too many colors because the thing is if you use too many colors in your illustration, what tends to happen is it gets a bit too busy. And already we've got a lot of elements on this illustration. What we don't want is we don't want our eyes to kind of scatter around and take in too much color information and make us feel a bit dizzy. So keeping to minimum colors and just using those colors nicely and effectively will work. Just great. Okay, now, let's add in some nice bright or accents now. So I want to use some nice light colors. So maybe go for this light yellow down here. I don't actually like that light yellow. So I'm gonna do is I'm going to go in and maybe intensify a little bit. So I really like this yellow hair. So if we just move it down here. I've got this nice bright C-type, yellowy orange color where the dots on the actual wheel is up there and the saturation intensity is a roundabout on the offset, right? Or we can actually just snap to this position here. So if you remember previously, I said if you just double tap that circle, it will snap to that most highest level on the point of that circle. So that is coming to that and I think I'm going to use that. So let's just go here. And what I want to do is I want to add a nice bit of a yellow on the front parts of this shop. Look at that gorgeous yellow, that isn't it? It's like a beautiful golden yellow that's Isn't it? Gorgeous, beautiful stuff. I never used to really like yellow when I initially started working in illustration and art or even in graphic design generally, I used to stay away from yellow. It was a color that I didn't really like. But as I came to understand and realize how color works and how beautiful all colors really are. I just fell in love with this color. It's just so nice and vibrant and it just puts a real nice mood to the way you feel. I feel anyway, puts me in a good mood. This color and the properties of this color are quite good. If you look at color theory, a lot of colors have an effect on your mood. But again, it might be a color that you absolutely hate. You might be like, Oh, I hate that color, That's absolutely horrible. I have that color in my nightmares. So it's all on personal taste, but I really liked that yellow. It's gorgeous. So let's add that yellow there. And what we can do is maybe throw in the yellow on the actual windows over here, because we are in multiply mode, what will happen is we can merge with the layer underneath. So I've kind of gone over that a little bit too much. So do a Becky back and just little dots over there and maybe just a little dot there. And then what I'm gonna do is I'm going to go in and add some more yellow on this area so that we have yellow here and a bit of yellow over here. So we've got the ground floor area just lightly adding in that beautiful, gorgeous yellow. Just like this. I'll do a little bit of a zoom in zoom so you can see this a bit better. I tend to forget that I'm doing this as a class and I get kind of lost in enjoying it so much that I don't realize that sometimes the little corners are really hard to see. So I'm just doing a Zoom is zoom in on that. And the yellow is coming out nicely over here. So let's just carry on. Let's not get too excited, Mr. Emma and Miguel. And let's just carry on. Okay. So nice bits of yellow there you can see we've got a nice flow of color going on. So what I might also do is I do like to include yellow a lot in my drawings. So let's maybe make this area this gorgeous yellow, absolutely beautiful colors. So nice bits of yellow on that side. These steps can be yellow. And it's just fantastic, isn't it? Okay. Now, can we add yellow anywhere else? Maybe a little bit of yellow here. So we could add yellow to these end parts of these pillars, these tiles with the squiggly wiggly patterns on them. I think that'll be enough for the yellow color. 20. Selecting Values: Okay, so let's now have a look at some more colors. Let's maybe pick out a, maybe a blue shade. So let's come out with a nice kind of grayish blue tone maybe around about there. And that will work nicely. And what I'm gonna do with that one isn't just going to go in and I'm going to do the actual surface that the car is on. So just going to add that blue to the surface, nice and dark like a concrete type pavement with these cobblestones on it. That's looking so just like that, just adding that in. And I think that's looking fine. So next, let's maybe add a nice popping color on this roof head. So let's get a nice sharp color, maybe an orange, beautiful color, orange. So let's get a nice sharp orange snapped to that orange part down there. We don't want it to be to read some maybe bring it in slightly closer to the yellow. And I think that's looking nice. So for this roof, yeah, you can see that we have this lovely orange color down here. Again, oranges, another beautiful color. You'll notice that my table is oranges and say that I've got my iPad on. Again, It's another beautiful color. So just like that with a chimney here, we've got the chimney. I'm just going to splash a bit of orange on that chimney. And I really liked that orange, so I think I might add that orange to these elements. So instead of this green and kind of not liking that green anymore, that's on these kinda pay. So I'm just gonna go ahead and throw in the orange there. Instead. We have a nice contrast of warm colors on this left-hand side. So just like that, so easy to just go in, just overlay that color on top of another. And actually, what I might do is I might add in some orange hair on top of here, just lightly, not all the way, just on the right-hand side. And let's maybe add in some orange on the tables. We could do an orange table just like the one that I've got. So the table where we have the teapot, we can just throw in maybe a little bit of orange. And that's looking good while we are here on the table area. Let's just fill in these areas. So we've got some browns, maybe. This nice brown down here from the palette. Throw that in over here. So these are potentially little boxes full of treats, full of sugary treats, not good for your teeth though, so don't have too many of them. So let's just carry on again, just throwing in that brown, which is quite similar to the orange vase, just slightly different. And what you do have a nice bit of harmony there, just like that. And then maybe add in a nice purply purple are really kind of like opposite color to the brown. And that will just give it a nice day of pop. So it looks like we've got some interesting things inside those boxes are very good. And we can just leave the actual teapot and the cop and maybe the chairs just the way they are. And that's looking nice. Okay. So that purpley color is quite nice actually. So what I might do is I might go ahead and color in these little fruits, fruits that I've got down here. So let's maybe make these purple. That'll be pretty nice, wouldn't it? So look at that gorgeous purple, huge giant sweets in this little basket. Just going for a stroll, have a nice cup of tea or coffee, and then maybe just go to the market and just get yourself a nice big, juicy purple suites. Very good. Dreaming, dreaming outweigh. So Let's carry on. Then with this one, I've got maybe some nice other colors to pop in. So maybe go for a bright green cell, Let's go for a bright green over here. And this come out and maybe throw in a nice bright green so that you can really see these little elements come out and they attract your attention. So nice, bright green, they're purple and maybe have a red here. Actually, let's just throw in a red. So a nice saturated red. Let's go for a nice bright red. And I think this is gonna be looking pretty cool. So there we go. Just a bright red in that little corner over here. Just make that a bit bigger. So a nice bright red over here. Let's keep it gorgeous, like fluorescent colors, isn't it? So like using highlighters. So there we go and maybe throw in a nice blue on these begets. So you've got Uber gets, actually, I've actually had a burger that was blue in color. The breadth part of the bone parts of the burger was blue. Can you believe that? I had a blue burger, so that is that could really happen. Good to know you could get blue but gets, Let's get back to it. Let's get rid of that interface. We don't want to see that interface. And you can see we've got this nice pop of color on these little elements here just to attract your eye. We can finish off by maybe doing a little bit of color on this part down here where we've got the face. What am I do is I might just use the same color actually. So to get the same color again, pressing down and getting your color picker and just making sure that we've got a similar tone. And what that'll do is give us our blue, but it might not be exactly the same. So if you need to adjust it, then just go ahead and adjust it. To be honest with you, I'm not really that bothered whether it is the same. I might actually make it a little bit darker. So let's go ahead and just add that color onto this. So there we go. That's looking just about right. Yeah. Good stuff. Okay. Let's come out of there and let's just analyze what else do we need to do? We need to maybe drop in some color on the side parts of these roofs. So let's make them all the same. Because we've got blue, maybe have a darker blue, so maybe bring that down here and then take this across the kind of more sharper blue part. And I think that'll look quite nice. So let's just see how that looks. Just get a zoom in, zoom out. So just throwing that blue and you can see because we've already got a nice bit of a gray tone underneath. We don't even need to worry too much about pulling out the right color or the color that we really want. It just, it just blends in so nicely with this effect. So that's looking good, acts like a nice indigo blue. And then I'm gonna do the same on this area over here, the throwaway in that blue with that multiply mode. Then we've got this nice area around the clock. But I think what I might do is I want to have that nice and bright. So I'm going to click on my eraser tool here. Make sure that I have a nice size tip. And then I'm just gonna go ahead and I'm just going to erase those kind of pen marks that went over when I was coloring in the grain. And what that'll do is that I'll just give it a bit of a nice little pop. And then in the middle, I'm going to do the same, clean it up. And you can see we still got the gray because we've got the tone on there, but I actually like that. I don't want it to be completely white. I just wanted to have a little bit of brightness around the rim of that clock. So let's just do a pinch back. Fantastic. So getting this back to normal, and that's nearly about it. So we've just got the car to do. And the actual pavement actually liked the pavement the way it tastes. I might make it slightly greater than what it already is. So let's look at that next. 21. Midground Elements: With that pavement, maybe like to tackle the pavement first. So let's just maybe add a another tone to the pavement. I might bring this into this purplish area down here, just like that little bit of shade of purple on here. So just like that pressing down and you can see that's quite a nice color, that, that purple, it's not gonna be too saturated. Or two sharp purely because we're using that multiply mode. And that's the advantage of multipliers. You don't need to worry about going into saturated. So just like that, I'm just adding that layer. Then we've got the bricks kind of the edge of the pavement just covering that up. And you can see that makes it look really nice and gels the whole thing together that color, really nice color. That's actually, so let's now look at the car. Now for the car, I want the car to be nice and bright. I want it to pop out and I want it to kind of make a statement. So let's maybe choose a color that's a really bright. So how about orange shoes? You see orange. So you'll look and see how orange will do so really saturated on the orange, maybe have it a little bit more reddish. And let's give that a go. So just with the car again, throwing it said, well, I'm going to do is I'm going to press down quite hard on this one. I'm not going to have just a light layer. I want it to be nice and full. So just like that with the parts of the car or the roof, the back, the spoiler area, and the trunk or the boot like we like to call it in the UK, the boots, the boots of the car. So just like that, I think that's going to look quite nice. I might just do this edge here and do this and just leave a couple of parts of it white. And again, just going in with a bit more pressure and it's looking nice. So with the wheels, I'm going to leave the wheel to white. And let's do a pinch back. Look at that. That's looking quite good. Now, what I don't like now is I don't like the roof because my car is orange. I don't really want this roof to be orange anymore. So I've decided to change my mind and I'm gonna go ahead and I'm going to change the color of the roof of that house. So I might make that quite nice and blue. So let's have this royal blue color here and see how this works. So if we just go over the orange, you don't need to worry about it. So this is like a purply royal blue color. How does that look? Not bad, but I want it a bit more blue, so I might dial that a little bit back. So maybe just add in a bit more blue, That's better. Yeah, that's what I'm after. I want it to be blue, have it nice and blue so that it looks quite distinct. So just like that. So you can see now, we don't want, if you want to attract the eye to one area than use a color that's very sharp, but don't have similar colors around it. So we've got orange and blue, which is the opposite on the color wheel. So what we want to do is we want to have that contrast and complement color to be in the focal point where we want the users to be. But then again, it makes no difference at all. You want it to be orange, do it orange. You want the whole painting or the whole illustration to be orange? I could go ahead and do that. There's no stress in this. There's no right and wrong. You do it, how you want to do it. So let's now maybe look at the mushroom house part where we've got the base of the mushroom house. Or for that, I will just want a light color. So maybe select one of these yellows from the palette. So I've got that yellow really doled out yellow. So just like this, I'm just going to add that there. Just to add that light accents of color so that everything doesn't just look gray. And I think that's looking nice. And then we have this fence area, but I'm tempted to just leave that as it is because it blends quite nicely with the green and it looks nicely separated from everything else. I think that's about it. Now, the clock rim is not doing very good things for me, so I think I might change the color on the clock room. How about we change that to a yellow or maybe even a blue? Actually, let's try the blue. So I'm going to pick a blue color from here, from the actual roof there. And I might just make display. So if we just add a little bit of blue there, I think that looks a bit nicer, doesn't say so. Just a little bit of blue on that one. Very light not pressing down. Don't want a saturated look, just using that pressure sensitivity of the Apple pencil. Yes, that looks a lot better, doesn't it? What we can do is we can actually add that blue here where we have the chair. So we've got the chair here. And we can just add a bit of blue down here. Just like that experiments have a look at what you've got. Add colors, add more colors, take some colors away, just give it a go and have a bit of fun. That's what it's like. It's just like coloring a page from a coloring book. So let's now look at the whole thing. Let's get that interface away. I liked that. I think it's looking rather nice. So what we just need to do now is just do the background with the bolts, the boats. And we're going to be pretty much done on this one. 22. Background Midtones: Let's just maybe add a few mid values on the back so I don't want it to be too bright at the back, so I might just use a bluish gray tone like this. So let's just make our brush a little bit bigger, like so. And then just paint this in over here. And you can see it's just adding a nice light shade. I don't want to be doing that. So let's just squeeze our Canvas. Make sure it's all within the screen. Just like that. Really lightly on top of there. And I think that's looking good. I mean, you can even mask certain things out. Use a clipping mask to just color in certain areas, but I don't like to have too many things going on when I'm illustrating. I just want to go ahead and get my Apple Pencil and just start the thing. Because otherwise if you start going into layers, doing a clipping mask here, there and everywhere, things start getting complicated and you can get lost in the whole process. So if you'd like to do those type of things and you can absolutely do them. But again, this class is more just about having fun and not getting too bogged down all the technicalities and the special features of what you can do in digital artists. Just about relaxing and just getting some drawings down by some inspirational things in your surroundings and just having a bit of fun. So that's what it's all about. Let's now maybe add a nice color to the water areas or how about the turquoise see bluey color? I think that's quite nice. So let's just add that in here. Yeah, that's looking good. I'm just going over the actual boat, so that's not to worry because I'm going to call it the boats later on. So just like that and that's bits of blue, but why don't like about that blue is it's clashing with the blues that I've got on the house. And I don't want to take that away. Dial this down to maybe have this more on the green side. So maybe have it more of a aqua green color like this. And I think that a little bit better yet, That's a little bit better. Although it does look quite similar. So maybe go the opposite way and have it more on the blue side. So just like this, have it on the blue side. We don't want it to interfere too much with the main illustration because again, this is just the background. And I think that looks quite nice. So just going in and just filling it up, filling up that area. And that's looking good. And you can see now I'm using a brush that's a little bit too big, so it's kinda bleeding over that house and I don't really want to do that. So I'm going to do a couple of undoes like this, and I'm going to just take my time with this area. Now what we can do is you can add another layer. And that will make it easier if we don't want to kinda like smudge over. So actually what we'll do is let's just add another layer. So I can show you how to do that. So if we just add another layer and we click on multiply again, and we can just name this layer. Can name it whatever you want. So I'm just going to name this color. Then I'm going to put BG for background color, BG for background, not bad color bag, color background. So just call it BG and that's it. So that will indicate to me that it's just a background that I'm doing against for this, then if we do bleed over to the other side, it won't affect the color when we come to erase it. So just like this, I'm just adding in that nice sharp blue. And just going in and getting that nice layer of color in the background make the brush a little smaller. Just like that fantastic look at that gorgeous color. Imagine how long this will take doing, if you had a traditional art, spending ages on it wouldn't be you're trying to color every little party in with your markers, watercolor. But then again, that's the advantage of the digital world. So let's just go in. And now what I want to do is I want them both the bolts to be white. So I just want to use my eraser and get a nice small brush, brush. And let's just erase those out. Then we've got these nice little white boats having a race to win. And the winner gets a gorgeous coffee and cake from the coffee shop over here, wherever it is. Okay, let's just carry on and not get carried away. No point getting carried away, just carry on. So there are my boats might add in a little bit of color on the base of those boats just to keep it interesting. So maybe just a nice dark brown. So just a nice dark brown. On those boats areas. The sales of the boats can be nice and white. Brush is a little bit big. So let's just go in and I'll really bothered if it bleeds over. It just adds to that more natural effect. Now what you'll notice is that while you're coloring things in, there's no perfect plan to coloring in is go take it as it comes. And what will happen is then certain things will be on it that you don't like. Now, I'm looking at the whole picture. So let's just get off, get rid of the interface. Now I'm looking at the whole picture since I've added that background in, which is a nice blue and with those brown kind of bass boats on, I'm actually not liking the colors that I've used here because they're too similar. So what I can easily go ahead and do is change it and I think that's what I'm gonna do. So let's just get on the right layer now. So remember we were on the background layer over there. Let's get back on that color layer. And let's maybe start changing some of these colors. So I just want my brush to be a medium-size brush. And let's just do a squeeze back. So let's click on the color wheel. Now, I want that color to be a little bit more contrasting with the background so that it looks nice and separate. So it doesn't look like it's all merged on one flat plane. So we've got nice but a yellow there. We can continue that yellow and maybe go for an orange on top. And what that'll do is if we just create a light orange like this. And what we want is we want it to be nice and saturated in this area. This will add that contrast and you can see just adding that will make it all pop. And it will make it look so much better. So just go with the colors that you initially start off with and then just change it around. It's so easy to change around again, if we were working in traditional and we had put this color down first, then it would be very difficult to change it. But because we're in the digital world, it just works fantastically well. Over here. Again, I don't like that this blue is now too close to the blue in the background. I want this to pop forward. So what I'm gonna do is I'm gonna go for my favorite color, green, green, green. So let's choose a nice green. I think this will be nice. So let's just add that green in there. Look at that beautiful, what a green, gorgeous, gorgeous green. So we've got this nice green greenhouse over here. And it's just completely changed the dynamic of it, hasn't it? So I think that's looking so much better now. So maybe we could add a few more elements, but I think we'll leave it at that. Maybe add some details on top if you really want to, but I'm going to just leave it at that for now. And let's now move on to the final stage. So let's just add a little interface away and just look back and have a nice glance at it and maybe make ourselves a nice drink and just admire what we've done. So let's do that now this is the admiring state, so just have a look at what you've done. Take a step back. Always a good idea to take a step back, you might have some more ideas that pop up into your head or you might see areas that you want to work on, but I'm going to leave it out that and I'm going to move on to the next and final stay. So I'll see you after I've had my nice coffee. 23. Highlighting Stage: Okay, welcome back. Now what we're gonna do is we're going to do the final stages of our illustration. And before we actually start that, I've just noticed, I've got the windows that are covered up over here. So I'm just gonna go in into my layers and go into that color layer and use the eraser brush and make sure it's nice and small to get rid of the green, the actual window area down here, so we don't want to cover it all up. And that's looking lovely, job late. So let's now do this final stage. So going on the top of the actual layers stack, let's add in another layer. And what I want to do is I want to call this layer highlights. So if we just call this layer highlights, Let's just get that spelling there. Fantastic. Come out of there now. And what we want is the pen tool that we used before. So let's switch back to the actual inking and get it on the technical pen. Right? Now for this, what I'm gonna do is I'm going to do basically what I do in my traditional work. And after I've done all the coloring in and the tonal work and the watercolor, I go in with a white marker pen or a white gel pen, and I'll just go in and start adding in some white highlights. So this is what we're gonna do in this stage. So get that color wheel up and we want to have the pure white. So in this circle area double-tap and it gives us the pure white. Now we want the actual width of the brush to be similar to what we had before. So remember we've got the two stops there, the two bookmarks. Let's go to the smaller one, which is the one at the bottom. And let's just test it out. So we've got to make sure we're on that highlights layer and maybe just throw in a couple of lines there to test it out. Yeah, that's looking good. So do a couple of arrow backs on there and we can start. So get rid of that interface. What I'm gonna do now is I'm going to start adding in highlights where I think it will really make the illustration pop. So let's start maybe over here. So just like this with the Apple pencil, I'm just going to start dotting gain, some highlights where I want them, just gonna make that a bit bigger. And just like that, just with a couple of dots stippled, just to add in a bit of difference. And you'll notice that when we do this, it really brings out the illustration. And I'm just going to follow these darker lines going up and maybe just on the edge over here. So if we do a tilted tilt, Oh, we've got a horrible little mark there, haven't we? But we can get rid of that. So just a little tilted, tilt and just swipe in some nice little lines that will add to the overall effect. Now, you don't have to do this stage if you don't want to. I just personally like to do it in my illustrations. And again, you don't have to place them exactly where I'm placing them. If you want to have less highlights, you can put lesson more or have them wherever you want, just maybe add them in to add a bit of visual interests. So there we go. I'm just adding some highlight lines over here, not too many on that side. And then let's move on to the little house, the house here. So for this one, maybe just a light one going across there. And then we have this roof area is just to really create a bit of separation where we have a lot of dark and then maybe just add in a couple of dots, splatter a couple of dots like you're using paint and it's all good. So on the windows, just underneath the windows, maybe then just on the edge of that door. And then maybe have a couple on the edge of the side of each step, bring it across, and then maybe add a couple here. And maybe one on the edge over here. And maybe just throw in a couple of this side where we have the lightest values. And then we've also got this edge. So we can actually go ahead and create a bit of a sharp edge. And you can see just by doing that, it's really enhanced the overall look and stopped it from looking too dark and murky. So with the actual little fencing that we have here, we can just go in and maybe just add a couple of curvy curves on the tops of those fences where we have them panels just like that, following it along, just so that it divides it up nicely from dark to light and creates a separation from one element to the other. So just over there, I'm not going to have them down here. And then maybe we move on to this area where we've got our little pots of sweet so goodies in the bottom here. So just like that, top-left, maybe top-left there again. And then how about having a couple of on the actual fencing on the inside? Just like that. Maybe a few more down here, spreading them out. And then maybe we can actually go ahead and do some highlights on the teapot. So just going in, I'm just painting this in now with the white adding in some highlight there. Just on the edge of the cup. Then maybe some the edge of the table. Then we've got the chair as well. So a nice thick one on the chair over there. And then again, this one's covered in darkness, so maybe a nice thick one over there. And I think that's about it for that. Then we've got this staircase haven't way there's little ladder and climb into this beautiful little retreat, this teacup retreats. Let's just add in maybe some highlights here, just in-between those kind of ladder steps. And then what this will do is this will just enhance sets and you'll be able to see a bit better, swivel it around and get them steps highlighted with some nice straight lines. And you can see that's just added that nice bit of detail. So maybe we could just go ahead and just do a couple of lines going across. And that's about it for that one. Let's now move on to the mushroom house there. For the mushroom house, I want this area to have a nice thick white line just like that. And then maybe a couple of white lines going up like this that follow the same direction, the Chrissy cross hatch. And then if we turn and tilt, you can bring in a couple of lines like this. Just underneath here, a nice thick one underneath here. And then maybe just bring a couple across and maybe just have some within the cross hatch itself. So just like this, nice and easy, keep it random, keep it loose. And then maybe create a bit of a crisscross, crosshatch on the edge. And then maybe throw in a couple of dots, the dots, couple of random lines, just to make it look a bit interesting. So just like that and you can see I've got quite a wobbly lines the head, but you know what, It doesn't really make a difference. It just adds to the overall effect. Now we can look at this chimney actually, because the chimney is quite hidden. So let's maybe get this nicely, highlights it to just creating a white border around the entire chimney. Then we've got the window. So I'm just going to tilt to this side for the windows, just the basis of the windows there. And then maybe just a little dark couple of dots down here. And if we look back, I think that's looking rather than I. So what I want to do is I don't really like this black area. So for this, I'm just going to literally do some stipple work over here. So a couple of staples just to cover up that black area. I don't want to remove the black area because I like how it creates a contrast, but just a couple of staples to create some texture. And then let's now move on to this nice hexagonal townhouse. So just a couple of lines coming in here. And then where we've got the windows, maybe just a couple there. Now actually, I don't like the one that I did before, so let's go back a couple of slides back. What I want is I want the actual line to be a little bit thin. So let's just bring it down to maybe 23 and then get rid of that, get rid of that interface, go away interface. I will just put some dots, the dots there, but it doesn't matter. It's just going to add to the effect just like that. Nice and thin. And then I want the light to be on this side, on this one there, and then just drop one in that drop on in there. And this one is looking good. So just one around the circle, maybe a couple of going across like this. And then we could possibly have one here and then maybe fill that in white. Fantastic, right now, a bit on the roof. So let's do maybe one down here. And then maybe just bring in some white ones across over here. And then a couple of dots stippled up there. I think we'll leave it at that for that one. So we've done this area, Let's now move to the shops. 24. Detailed Highlights: Now we don't really need too much on the shops because the shops are quite nicely lit up and saturated. But what we can do is you can just go ahead and do a couple of lines over here like this. And then maybe have a couple of lines here and then maybe just add a couple of highlights on these little purple sweet jelly things that we've got, just a couple of highlights there. And then maybe a line to separate my iPad slipping all over the place. I need to hold it in place just like that. A couple of lines going down there. And then we can move on to the actual flag part on top of the canopy area. Couple over there. And then maybe we could just throw in a few over here. And then maybe on the edge of the roof, a nice broken applying the one on the inner side. And maybe just a couple of dots that I'll do for that. And then we could do similar thing over here where we just go ahead and just add in some white highlights on these blue bar gets gorgeous blue subway by guess. And then just bring in some lines down here. And then again, just to repeat that pattern across couple of whites on there, I'll pull the white stippling, stippled on there and then just bring in a nice aligned this way and then just a couple across to enclose it all in. Fantastic. Okay, so maybe just throw in a couple of dots on this side. And then what we can do is create some lines going in this direction, really to just separate the whole thing. And it looks quite cool. So let's look at these windows. So for the windows, I'm just gonna go in and I'm just going to do like the top parts of the windows. Then we've got the roofing roof. So again, just a nice swipe up there, swipe up there. And then maybe just do a couple inside these little boxes and maybe some lines here. And I think that's about it. What we can do is actually you could just maybe do some light ones coming across where we've got the tiles of the roof. Just to add a bit of a pop, a bit of a visual pop. So let's now do a Zoom is zoom back. Yes, it's looking nice. So let's look at our final bits. So we've got the car, scott, the car over here. And actually, that's getting on my nerves now. So what I'm going to do is because we're working on another layer, that kind of wind that squiggly wiggly line is not really looking too good to me. So I'm gonna go ahead and I'm going to erase it or how easy that is without erasing the work underneath super-duper. So just erasing that. And then going back in. And then what I might do is because we've got a thin tip now, just more broken up like Oh, that looks a lot better, that doesn't it? Yes, it does. Now again, I'm just going to maybe just add some highlights over here. And the thing about adding highlights as you can keep going on and on and on. And you just kinda work than men as much or as little of these as you want, It's entirely up to you. But again, this is just for demonstration purposes. I spent quite a lot of time when it comes to the detail part. But if I were to spend that time in this class, this class would probably be about 30 hours. So I'm sure you don't want them that, but if you do, just let me know. Let's now do a little bit of white on the edge of these kind of things that come down on the pavement. It's got nice little bit of white there. And then we'll move this here. A cross, couple of whites going then all the way back, just at the front. Just to add that nice shine on this illustration. I think that's it for them. We don't need any on that side. Now we can add some nice little highlights on the car. For the car, Let's maybe just do a nice line going across like this, really shaping out the windows. And we've got this T top on the top, bringing it across. And then just effectively just outline and get with the white. So it effectively adds highlights of it. So just a couple of dots there, couple of dots there. And then maybe just add more whites there. And then with the wheels, maybe just add a couple of dots to show that we've got some glistening light on these wheels. Beautiful, right? So I think that's enough for the car. Let's do a pinch back are very good and overhear maybe where the pavement is, just throw in a couple of random lines overhead just to compliment it. And then we do have a edge of pavement down here. So maybe just throw in a line. They're throwing a line there. And it's looking fantastic. So what we can do with these bolted bolt says, we can just go ahead and widen up the sales of the bowtie boats just like that. Paint them in, just paint them in and then throw in a couple of lines where the water is. Why I like to do with the water area is I just like to add staples. Random stippled, it just gives it that nice effect. So again, over here, we've got this little boat, the boat which seems to be winning the race. They're all going down this way. They're all after their prize. Wonder what that price is going to be? Well, it's most likely going to be a coffee in a cake. Could be a black forest cake. A, There'll be really treated unhappy then. Black forest. Oh, I'm getting hungry now again. I better stop it. Okay. Carry on. Carry on, Mister Miguel. Carry on. Okay. Well, let's just carry on. So again, with the background, we don't need too many highlights in the background because we don't really want that to interfere with our overall image. So I'm going to leave it at that. Have a look at this now. And it's looking fantastic. So I can see on the clock here maybe we could add in a nice curvy curve like this, another broken curve. And then maybe here we can have this and we don't really have any hands on the clock to tell what the time is. So maybe we could just draw in a couple of hands and make it what, don't even know what time that saves those hands over a bit wonky, but it doesn't matter. It could be a whimsical times. So with that, That's looking nice. And what I'm thinking is actually, let's maybe throw in a couple of lines like this. So it looks a bit more interesting. It looks a little bit plain to me that let's just sparkle it up a little bit with these gorgeous white lines. And that's looking nice, fantastic. Okey-dokey. We are now done with the highlights stage. There's only one more thing that I like to do and this is just an extra thing to do. So I'm gonna go ahead and do it. So let's bring the layers back. So add another layer. And we're going to call this one the texture layer, texture. And then we're off there, get the color to pure black. So double-tap, we've got pure black over here. And what I like to do is I always like to just add a layer of texture to really make it look like as if we've drawn this on paper. There's a great little brush within procreate called the sketching soft pastel brush. So if you go on to sketching, scroll right to the bottom, you've got these oil pastel, soft pastels, and they'd give a nice texture, really nice texture to them. Select that one. Then what we can do is we can go in and make the size of it roundabout. Well, it can be as big as you want actually. And then the opacity, Let's get the opacity nice and big. And what we're going to effectively do is now we're just gonna go and just make sure you're in the texture layer. And we're just going to lightly swipe over the whole page. So if we get rid of the interface and just make this a little bit smaller, what we're gonna do is get your Apple pencil loan from one side. Just lightly start swiping in. Just like that, you can see it's adding a gorgeous texture to this overall digital paintings. So if you print this out, it might even look like you've done this by hand. But you'll notice that the harder you press on this brush than the darker it will become. But don't worry about that because we're going to show you how to lighten it. So don't worry if it's too dark, just make sure you get a nice bit of texture all the way across that page and you can see it just changes the overall look. Now, if you don't like this grainy texture look, then just leave this step out, but I really like it. So let's have a look at this. So I think that's a little bit dark. And to fix that, all we need to do is go on to that texture layer. Click on the N, and we're just going to bring the opacity of it down. So bring the opacity of it down to your taste. I like it at around about 50 per cent there. I think that looks really good. Let's come out of their pinky pinch. Get rid of the interface and look at that. We are complete. So our beautiful whimsical sketches complete. I bet you can't even remember what the picture looks like that we base this on because I can't remember myself. We can now have a look at how we developed this from start to finish. And it's always interesting to see because it will refer back to the original image. So in order to do that, just bring your interface back. And let's look at that next. 25. Reviewing Results: Okay, now let's have a look at how this beautiful drawing that you've just completed with me was made in stages and step-by-step. So if you click on the spanner, we've got the spanner over here. And if you click on video, you've got video time-lapse, replay, time-lapse recording, export time-lapse video. Click on that time-lapse replay and you'll see how we started this video. Do a little pinch down to see the whole canvas and look at that from that image. This is what we did and it's just so much fun, isn't it? Just watching how you actually came about doing your sketch from start to finish. What a great function. What happens here is once you've done a couple of these and you've not come back to them in a while. You'll be like, How did I do those drawings? Oh, I wonder how I did them. Then you can actually go ahead and have a look and watch the entire replay. So it's such a fun way of drawing and becoming inspired from all your surroundings. And that's what this class was all about. So you can see we've worked our way through it. And if you want to speed this up ordinate to do is just swipe across to get a quicker replace it just like that, our beautiful illustration was created, tonal values were added, color was put on. Highlights, we're done. And then finally threw in a gorgeous, gorgeous texture. So done on that. Fantastic. So we've done our sketch. Let's just get a zoom in, zoom back on that as you can see within the frame. And now what we can do is maybe have a look at some other ones to get inspired. But you should now be ready for your class project. So let's have a look at a couple of ones that I've done in the past so that you can get more inspiration and you can get ready for your class project. And then the fun can begin all over again. So I'll see you on the next one. 27. Class Project: Okay, welcome back. Now it's time for you to do the exciting adventure of your class projects. So let's just quickly run through what you need to do for your class project. It's just a series of three simple steps, 123. And all we need to do for step one is find a focal point, take your reference image, and then transfer that reference image to your tablet. Step two was to complete your whimsical sketch using the steps in the lessons that we did previously. And then finally, once you complete, you can post your gorgeous whimsical sketch on the class gallery, and that's all it is. As many projects as you can post them on the class gallery so that we can all see and enjoy each other's wonderful work. And I can't wait to see what you come up with. 28. Final Thoughts: Okey-dokey, welcome back. Just now, a couple of final thoughts on the class. Hopefully you would have gone through that step-by-step process that we did to produce this wonderful little whimsically world sketch that we did. And then hopefully you would have had some experience in coming up with some of these ideas in your own class project by finding your own reference images and focal points. And remember, this is a continuous learning process. So have a look at the reference images that are put in the resource pack can practice with what I've given you and also keep taking them images constantly wherever you are, just taking an image on your phone, it's so easy, the process is so much fun. All you need is you just need your digital tablet and your Apple pencil or whatever you've got your stylist. So that's all it is. It's just a fun little exercise for you to do that you don't need to worry about. It's just a relaxing exercise and a bit of enjoyments and escape into the whimsical world of your mind. So I really hope you enjoyed the class. I enjoyed it, I certainly enjoyed it. I enjoyed having my cakes as well. I think I've got one more left on the table here somewhere. Oh, there it is. And so hopefully you would have learnt something new and you can really take this with you wherever you go. So do follow me on my social media, on my Instagram where I post daily. But whimsical sketches in digital mediums, also a lot in traditional mediums. And let's share, work with each other and have a look at how we're using our gorgeous tablets and our pens and pencils to really explore the world of art and especially explore the world of whimsical and to stay in touch and stay in touch on Skillshare asked me any questions that you'd like on the class or any of my previous classes are generally anything on art, illustration. Let's stay connected and hopefully will enjoy this wonderful journey into the world of whimsical art, illustration and design. So, thank you so much for your time. Thank you for taking the class and please post your class project onto the class gallery. And hopefully we shall meet again in the next one. Take care of yourself, keep sketching, keep its whimsical, and.