Illustration @ Izzy Burton

MAX STREET | SIMON GRUNEVALD | EVELYN STOCKART | SAM NASSUR

Learning to create masterpieces on iРad

UDC 004.92
BBK 32.973.26-018.2
P80

3dtotal Publishing
BEGINNER'S GUIDE TO DIGITAL PAINTING IN PROCREATE

3dtotal Publishing
Russian translation rights arranged with 3dtotal.com Ltd Through EKSMO Publishing House
All rights reserved. No part of this book can be reproduced in any form or by any means, without the prior written consent
of the publisher. All artwork, unless stated otherwise, is copyright © 2020 3dtotal Publishing or the featured artists. All
artwork that is not copyright of 3dtotal Publishing or the featured artists is marked accordingly.

P80 Procreate. Learning to Create Masterpieces on the iPad: The Only

Guide to Digital Painting / Max Ulichney, Simon Grunewald, Evelyn
Stockhart, Sam Nassour; [translated from English by O. Stebleva]. -
Moscow: Eksmo, 2020. - 216 p. - (Learning to draw on a computer and a
tablet).
ISBN 978-5-04-113471-6

Welcome to Procreate!

This unique program is more popular than ever among digital illustrators: a
variety of brushes, options and settings for creating graphics make it an ideal tool for
development in the creative field.
It doesn't matter who you are - a newbie to the world of digital painting or a
power user in the margins of Photoshop and other digital editors. This book contains
everything you need to master the program that has won many awards and
conquered the entire art world.

Thanks to Procreate, you will learn:

- What starter kit does every artist need?
- How to create your own character?
- Is it possible to combine digital and traditional painting?
- How to create a real masterpiece using a tablet?

Pick up a gadget and apple of pencil and discover a multi-faceted world

digital painting! UDC 004.92
BBK 32.973.26-018.2

© O. Stebleva, translation into Russian, 2020

ISBN 978-5-04-113471-6 © Design. LLC "Publishing house" Eksmo ", 2020
Illustration © Samuel Inkilainen
Illustration © Samuel Inkilainen
CONTENT
INTRODUCTION eight

HOW TO USE THIS

BOOK 10

BEGINNING OF WORK 12

User interface fourteen

Installation sixteen

Gestures 24
Brushes 28
Color 38
Layers 42
Highlighting fifty

Transformation 54
Settings 58
Actions 66

PROJECTS 72
Illustration 74
Izzy Burton

Character Creation 92
Evelyn Stockhart

Fantastic landscape 108

Samuel Inkilainen

Fantastic creature 124

Nicholas Cole

Traditional painting 140

Max Streetney

Spaceship 158
Dominic Mayer

Plein air 174

Simon Grunewald

Science fiction creatures 190

Sam Nassour

GLOSSARY & LIST

INSTRUMENTS 206

DOWNLOADABLE AUTHORS 208

210

ALPHABETIC INDEX 212

INTRODUCTION
Create masterpieces on

LUKAS PEYNADOR go with Procreate on

your tablet
Welcome to Procreate! It doesn't
matter who you are - a beginner in
the world of digital painting or a
“seasoned” user of Photoshop and
other graphic editors - this book
contains everything you may need.

Let's start by saying that Procreate is

a digital painting and drawing app
designed specifically for the iPad and
Apple Pencil. (It is also available on
the iPhone as a Procreate Pocket.)
Savage Interactive, behind Procreate,
works closely with the art community
and actively encourages any
questions or suggestions from all CG
(computer graphics) professionals.
The result of their work is in front of
you: this is an intuitive program made
with soul, designed especially for CG
artists.

Simple and straightforward menus

and responsive touch navigation
provide you with all the tools you
need to create beautiful illustrations
with just a touch of your fingertips.
The app has not only become widely
available for anyone with an iPad, but
has quickly become a popular tool in
the professional fields of illustration
and entertainment.

The software that Procreate uses

makes it ideal for drawing on the go
— paint at home, on the bus or in the
open air. The fact that Procreate is
exclusively for Apple means no
additional software clutter on your n Am
desktop and no hardware
compatibility issues with your hard
drive.
iss--
com.
CHOOSE FROMFROMWOW TOOL
When working in Procreate, you can use either the Apple Pencil or any
third-party stylus. However, the Apple Pencil, typically preferred by
professional artists, will deliver optimum results with advanced pressure
and tilt functions that have been specially designed to create a wide variety
of strokes and effects that mimic traditional painting. Although you can
use third-party styli as well, if you want to get the most out of Procreate,
you should still get the Apple Pencil. Do this as soon as you are ready for
some serious dick

artistic practice.

eight
 INTRODUCTION

WHAT IS DIGITAL PAINTING?

For those new to CG, we'll take a
quick look at the concept of digital
painting to prepare you for your first
screen experience. While digital
painting, especially custom-designed
software such as Procreate, is similar
in many ways to working with
traditional materials, the process of
painting is quite different. Perhaps
the most important feature is that in
CG images are usually arranged in
layers, and you decide how these
layers interact with each other. For
example, you may want one layer to
affect another, similar to how layers
of paint lay on top of each other, or
you can work with one of the layers
independently of the others. This
allows you to isolate specific areas of
the image and highlight specific time
stages when creating a work, saving

In Procreate, you can also create your

own brushes, reshape, and easily fix
an image at the touch of a button - all
of which provide flexibility and speed
that are unlikely to be available in
traditional painting. Plus you have
unlimited tools and colors at your
disposal! Ideal for working at your
desk, on the go or away from home -
no need to wash dirty brushes or
worry about damaged paper.

The screen may seem daunting at

first, but Procreate's intuitive setup
makes the process clear and
enjoyable. Good application
knowledge and consistent practice
are your keys to success, so turn the
page to get the most out of this book
and your digital journey.

Final illustration © Evelyn Stockart

nine
HOW TO USE
THIS BOOK
Together with talented illustration personal tricks, tools and techniques techniques that you gradually learn
professionals, we have put together a required in digital painting, and will as you work.
book designed for creative minds who also share tips on how to incorporate
are not yet familiar with Procreate. this knowledge into your own In the book's introductory chapters
Therefore, we advise you to start by workflow. Read each chapter and in the second, project part, you
reading the introductory chapters. carefully and experiment with the will find tips for artists with useful
The Getting Started section will give tools as you read for best results. tips and creative ideas.
you a quick overview of the interface
and explain how to create and There is also a glossary and tool
organize files. Following this, the After reading the introductory part and reference at the end of the book - you
chapters on Gestures, Brushes, Color, having mastered the basic skills, move on can refer to them as needed.
Layers, Selection, Transform, Settings, to the eight lesson projects. They cover a
and Actions will take you through the range of themes, styles, and techniques;
various tools in Procreate. The exercises in the book will teach you
how to create illustrations in Procreate. At
Each chapter introduces you to the basics of the beginning of each project, we have
using Procreate and explains how to use it. compiled a list of tasks, including creative

Chapter title

Subtitle

Introduction

Lesson objectives

Signatures
to illustrations
Illustrative
examples

Tips for
artists

10 All illustrations @ Lucas Peinador

 INTRODUCTION

Introduction to the project the name of the project Step-by-step instruction

Signatures
to illustrations

Materials (edit)
for download

Lesson objectives

Step by step
instruction
in pictures

MATERIALS TO DOWNLOAD
The artists behind this book have Be sure that you have downloaded FROM
FROMTR. 208
compiled a number of downloads to the necessary materials before you
help you learn. You will find a complete start working on projects. Lessons
list of such materials at the end of the with downloads will be marked with
book (on page 208). These include the an arrow icon at the beginning of
custom-made brushes you'll need to each chapter.
work with in the Projects section, as
well as step-by-step time-lapse videos
and outline graphics. Convince Look for this icon
where there is
downloadable material

TOUCH SCREEN GABLES

As already mentioned, Procreate uses rather than remembering most of the
a set of special gestures for certain gestures and learning how to use them, we
actions. For example, to cancel an use the following notation in the book:
operation, touch the touchscreen
with two fingers. So that you would-

Touch the screen Touch the screen Swipe Swipe a hundred

well and hold it well and hold it to the side rona while holding
one finger two fingers finger down

eleven
BEGINNING OF WORK
So you've got an overview of setting your workflow and applying
everything there is to find in this quick and smart gestures, and ending
book — what's next? It's time to with everything you need to know
explore all the tools that intuitive about brushes, color, layers, effects and
Procreate has to offer, so get ready to many other aspects of work. You will
click, swipe, and draw your own path even learn how to customize the
through the app's functions. This application to suit your needs. So grab
section will take you to the very your iPad as soon as possible and start
beginning, and you will find that going through this section to get the
there are many useful ways to create necessary skills, and then come back
a new canvas. You will discover all here as needed. You will soon start
sorts of techniques and techniques creating beautiful digital art.
that will help enhance your creativity,
starting with organizing

12 All illustrations @ Lucas Peinador

13
USER
INTERFACE
In this chapter, you will learn to: It will already contain several examples of work If you click on one of the sample works
from the application itself. or create your own illustration, a canvas
navigate the main elements of the will appear on the screen. It is in this
user interface; By clicking on the Procreate logo, you section of the application that you will
can find out which version of the spend the most time.
navigate the gallery and canvas program you have. Procreate releases
screens. regular updates at no additional cost to If screen rotation is not locked on your
ensure continuous software iPad, you can choose portrait or
The Procreate user interface is a tool for optimization. landscape orientation and the interface
interacting with the program and will adapt to your device.
consists of menus, icons, and buttons. The following options are located in the
The first thing you'll see on screen in the upper right corner of the gallery: select
Procreate user interface is a gallery files, import files from your device or
where you create and organize files. from your photos, and create a new Procreate Gallery Shows All
blank canvas with specified dimensions. Your Canvases

fourteen All illustrations @ Lucas Peinador

 USER INTERFACE

HI eat less
ALL THE BETTER
Don't be afraid of the user interface (or lack
thereof). The simplicity of Procreate's
interface is a feature you will quickly fall in
love with: you will have
only the most essential tools.

Gallery page Settings Transformation Feathering Layers

Actions Highlighting Brushes Eraser Color

Left side panel Main Panel

instruments instruments
The sidebar contains sliders for adjusting Once on the canvas page, you will
Brush Opacity the transparency (it shows you on immediately see all the available tools.
how much transparent your brush can On the left side of the main toolbar are
paint) and the size of the brush, as well as icons that can take you back to the
a handy Change button, which we'll talk gallery, as well as open a menu of
Change button about a little later. Underneath it all, you actions, settings, selections and
will find the Undo and Redo buttons that transformations. You will learn more
will allow you to step forward or backward about each of these functions below.
Brush size to the various stages of your work.
On the right side of the main toolbar
there are icons: Brush, Feather, Eraser,
Layers, and Color. When you click on
them, the corresponding pop-up
window (drop-down menu with
additional content, settings or options)
will appear. For example, if you click on
the Layers icon, a drop-down layer box
will appear.
Cancellation

Return

All the tools you need to draw can be found on

the canvas screen

fifteen
INSTALLATION
Now that you have a basic understanding quickly navigate the files, viewing
of the Procreate interface, we can take a them in previews and not opening
closer look at the process of creating a new them;
canvas to work with and organizing your
gallery. select several files to perform the
same action on them.
In this chapter, you will learn to:

create new canvases;

delete, duplicate and share files from

your gallery; choose the type of file
you need to work with;

reorganize and collect files in

stacks (stacks);

CREATING A NEW CANVAS

Pre-installed Importing files
canvas size and photos
There are several ways to create a new Clicking on “Import” will take you to
canvas in Procreate. To create a blank the file browser on your iPad — you
canvas, click on the "+" button in the upper can import files from documents to
right corner of the gallery. A drop-down your iPad, from iCloud, or from
menu will appear with several size options Google Drive. By clicking on “Photos”,
— click on the desired one. The file will you can also import photos from your
open immediately and you will be taken to device, which is useful if you want to
the canvas page. work with a screenshot or photo
taken with your device.

Creating a new canvas A quick way to take advantage of

arbitrary size both of the above options is to simply
You can also set your own canvas size: drag and drop files from their original
manually select the width and length, storage location into the Procreate
pixel frequency, color range, and Gallery. A new canvas will be created
rename the file. Clicking on “Create” for each file you add.
will take you to the canvas page. The
specified parameters will appear in
the dimension templates the next
time you create a new canvas.

sixteen All illustrations @ Lucas Peinador

 INSTALLATION

Click on the "+" button to

Yesbutttbbnabout
aboutssd sx xho
n aboutininsaboutl
lfromfromtt

FROM
FROMSAVE MOST
FREQUENTLY USED SIZES
FOR FURTHER APPLICATION
Procreate automatically saves whatever dimensions you specify, so create
multiple templates with different parameters and name them. This will
save you time when creating a new artwork, especially if you often use
the same canvas size.

17
DELETE, DUPLICATE AND EXCHANGE

It is very easy to delete, duplicate and

share files. Swipe left from the gallery to
bring up a menu of these three options.

Delete
This command allows you to delete a
file. Use a backup on a regular basis as it
is impossible to recover a deleted
canvas.

Duplicate
Duplication will create a copy of your
file. This option is useful if you want to
make major changes to a work or keep
multiple versions of it.

Share this
Finally, this command will allow you to
export your canvas in several formats.
We'll talk more about formats in the Share, duplicate or delete files by swiping left
next section.

FILE SUPPORT
Procreate gradually began working with information about layers and work with la - set him the optimal resolution for
a wide variety of formats, from its own files in other programs. uploading to the site or the maximum
original PROCREATE format to the allowed. You can export your time lapse
mandatory PSD used in Photoshop. Let's video as:
look at a number of formats that you PDF
can use to understand the benefits of PDF is a suitable format for printing
Lossy animated GIFs, but compatible
each. images.
with the widest range of software.

JPEG and PNG

PROCREATE JPEG and PNG are the best formats for
Since PROCREATE is the original format digitally sharing images. JPEG does not Animated images in PNG format are
of the application, the files in it must be preserve transparency information, but of better quality, but compatible with
exported in case you need to reopen PNG has this option, so if you need a a smaller range of software.
them in Procreate. The format stores transparent background, use the second
information about layers, and it also has option.
a unique function for recording time- Animated MP4 if you want to export
lapse video of your work (we will talk video instead of looped animation
about this function in the section Time lapse video and don't need transparency
"Actions" on page 66). Another benefit of Procreate is the ease information.
of exporting time-lapse videos directly
from your files. This tool converts
PSD & TIFF canvas layers into step animation. You
Besides PROCREATE, only PSD and TIFF can set the playback speed of the video
support layers. Use any of these formats yourself and select the quality of the
to save exported file.

eighteen All illustrations @ Lucas Peinador

 INSTALLATION

The image format menu offers different

options for exporting your work

nineteen
ORGANIZATION AND RENAMING
Several pieces can create a little
clutter in the gallery. Fortunately,
organizing files in Procreate is
extremely easy. You can rearrange
and rename your files, and create
stacks right in the gallery.
Press and hold and drag the image to the desired location
— place one file on top of another to create a stack

Reorganization in stacks
To move a file, simply pinch it with your
finger and drag it to the desired
location.

If you put one file on top of another,

they form a stack — a group of files.
This is a great way to organize your
gallery space so you can quickly find
the canvas you want.

The advantage of stacks is that they

can be moved around as if they were
single files, and individual images can
be removed from them.

Rename a file
An important part of organizing
gallery space is renaming files and
stacks. Simply click on a file or stack
name to bring up the keyboard and
enter a new name.

twenty All illustrations @ Lucas Peinador

 INSTALLATION

PREVIEW
Preview mode allows you to see all your
files at once on the screen without
opening them. This is very useful, for
example, if you need to collect works
into a portfolio, but you do not want to
import each picture separately. You can
make all the permutations right on the
gallery page.

To open a preview of a particular

picture, you need to enlarge it with a
pinch of two fingers. Then swipe left
to start flipping a slideshow of all the
files in the gallery. It is best to first
create a stack of images that you
want to view, and then open the
preview. Then the slideshow will show
only those files that are in the
selected stack.

View the file without opening it:

enlarge the image

Organizing your canvases correctly

ABOUTRGANIZATION OF FILES
ABOUT in the gallery will make it easy to find the
works you need

YOUR GALLERY
Keep your gallery space in an exemplary
order: create a “In Work” stack, as well
as separate stacks - “Sketches” for still
lifes and “Living nature” for sketches of
models. You can also categorize your
gallery canvases as Thumbnails and
Finished Artworks. Use this method to
organize your gallery space properly
and quickly find what you're looking for.

extermination.

21
CHOOSE

If you want to apply the same action to

several files, you need to use the “Select”
button. It is located in the upper right
corner of the gallery. By pressing the
button, you can select several files and
perform the following actions on them:

Group,
viewing,
share,
duplicate,
delete.

This option also allows you to quickly

create groups of several files and back
up your entire gallery on the Internet or
on another device.

UPDATE FILES
Procreate window - the ability to change oi
directly from the gallery. For example, if you are
in retreat orientation, then, returning to the
hayle is set as landscape, you immediately lie on
your side. While in the gallery, use your fingers
and turn. The illustration singular or,
respectively, vertical is especially convenient if
you want to quickly draw on the canvas without
opening the file.

Select option allows you to flip files in the gallery

22 All illustrations @ Lucas Peinador

 INSTALLATION

Use the "Select" option to perform the same

actions on multiple files

23
GESTURES
Now that we've covered the gallery, The Gesture Control Panel allows you invoke a menu to copy and paste
let's turn to the canvas. to customize each of them to elements on your canvas;
maximize your speed. We will discuss
As discussed in the User Interface this in detail in the "Actions" section use gestures to clear a layer;
section (page 14), one of the features (p. 66).
of Procreate that differentiates the
application from many other In this chapter, you will learn to: use gestures to make the canvas fit
programs is the minimalism of its the screen.
interface. With its gesture feature, navigation in Procreate;
Procreate can remain a full-featured
digital painting application that use gestures to speed up your work;
doesn't need dozens of menus
dangling in front of your drawing.
undo and return to actions using
“Gestures” are a necessary element of gestures and buttons on the left
Procreate's work. In this chapter, we will side toolbar;
cover each of them.

GENTLE NAVIGATION
The main gestures in Procreate are These simple, intuitive gestures let you you want to enlarge some of the details of
those that navigate the canvas. These change the look of your illustration as the picture, and then immediately see the
include ways to zoom in and out, and easily as if you were working on paper. general plan. For a quick pinch, fold two
move the canvas across the screen. fingers on the screen, quickly bring the
All of these options are intuitive. tips together and lift off the surface.
Alignment
fit screen
Magnification
Another useful gesture when working
and decreasing on an illustration is a quick pinch. This
To zoom in or out, simply hold with gesture will align the canvas to fit your
two fingers and then spread them iPad's screen, which comes in handy if
apart (to zoom in) or pinch (to zoom
out).

Rotate the canvas

Magnification Pinch Turn
Similar to the zoom gesture, pinch the
image with two fingers and then rotate
them. Following this, the canvas will
also turn.

Moving the canvas

With a similar movement, you can move the
canvas across the screen. Pinch the canvas
with two fingers and drag it to the desired
location.

Gestures are simple and intuitive

24 All illustrations @ Lucas Peinador

 GESTURES

CANCEL AND REFUND

Undo and Redo are essential commands Return
in any digital painting program. Undo To return to the undone action, tap
allows you to step back and undo the the canvas with three fingers.
previous action on the canvas, and
Revert to return to the previously
undone action. Since you won't be using Few steps
the keyboard on the iPad (although you If you want to undo or redo an action a
can control gestures through the few steps back or forward, instead of
keyboard buttons if you like), both of just tapping, press your fingers against
these commands are performed using the screen.
gestures.
The Undo and Redo commands are
also embedded as arrow buttons at
Cancellation
the bottom of the left side toolbar. Tap the canvas with two fingers to
To undo an action, touch the canvas undo the previous action, or three to
with two fingers. redo

Cancellation Return

25
MENU AND INSERTS
If you quickly slide three fingers down
the canvas page, you will be presented
with a copy and paste menu. This
feature allows you to copy, cut or paste
parts of an image.

Copying
Copying duplicates everything that you
selected in the current layer (how to
select the desired one is described in
the section "Selection" on page 50, and
about layers can be read in detail in the
section "Layers" on page 42). If nothing
is selected, the entire image located in
the layer with which you are working will
be duplicated. Then you can use the
"Paste" command to see the created
copy. You can take an illustration from
another file, or even paste the picture
into another application.

Cut
The "Cut" command works in a similar
way, except instead of making a copy of
the working layer, you remove the
selected element from the original
image and can place it anywhere.

Paste
Most likely, you will immediately want to
paste the copied or cut element into
another layer. The menu has buttons that
immediately run both commands.

Copy everything
The "Copy All" option duplicates everything
that you see in your file, regardless of
which layer the elements are in.
To open the copy and paste
menu, swipe three
fingers down the screen

TO
TOOPERATE ALL LAYERS
The Copy All Layers command allows you to duplicate the contents
of all layers in a file and collect all information in the plane of one
new layer (the original layers will remain intact). This is useful if you
want to share quick examples to illustrate the process of your work,
or to capture your progress on a plane and check the result in the
future. You can also create a group of layers, duplicate it and
continue working with the new resulting group. This action will be
equivalent to the "Copy All" operation, but will preserve the
separation of information by layers - just do not forget how many
layers are contained in your file.

26 All illustrations @ Lucas Peinador

 GESTURES

OTHER USEFUL GESTURES

Clear layer
If you want to clear a layer of everything Before After
that was drawn, touch the screen with
three fingers and slide them horizontally
across the surface from one end to the
other. This gesture can be used in
conjunction with the "Selection" command,
then large selected areas of the image will
be deleted, and you will not need to use
the "Eraser".

Swipe the screen

horizontally three
fingers to clear the layer

about donkey
Hide interface
Tap the screen with four fingers at the
same time to hide the interface. If you
want to deploy it again, just repeat the
same action. This function can be useful
if you want to draw without distraction,
or if you are going to show someone
your illustration.

Tap with four fingers

anywhere on the screen to
hide the interface

27
BRUSHES
There are three useful tools in a lot of brushes. You can choose the share brushes;
Procreate: brushes, eraser, and same brush type for each of the above
feather. Brushes are the main tool for tools to create similar strokes. import brushes from your device;
drawing and painting, and will
probably be the one you will use the In this chapter, you will learn to:
most. When you draw something on create and edit brushes;
the canvas, the Feather option will use the tools "Brushes", "Eraser"
blur the lines, and with the eraser you and "Feather"; activate the "Quick Figure" function
can delete certain parts of the picture and use it for your own purposes.
(or even the entire image). understand the brushes offered by
Procreate;
Believe it or not, you don't need
anything other than these drawing organize your brushes; create sets
tools in Procreate - the point is that
they all use the same bi- of your favorite brushes;

BRUSH LIBRARY
If you select the Brush, Eraser, or Nikko Rull - This brush creates a texture
Feather icon and then click it again, effect, but it is not so saturated that it is
you will bring up the Brush Library difficult to control it.
menu. On the left, it lists the brush
sets, and on the right, the specific
brushes contained in the respective
Airbrush
album. Procreate has brush sets for Airbrushes produce simple circular
everything you need to get started, strokes that grow in size and intensify
such as tools that reproduce the in color when you press harder with
effects of techniques such as the stylus. Keep soft and hard
calligraphy, abstraction, ink, paint, airbrushes close, as they will come in
sketching, etc. Each brush set handy for a wide variety of occasions.
contains a selection of tools.
corresponding to this category. There
are enough of them to find exactly
what you need, but not so many to
Tint
get lost in them. First, here are some Touch-up is a group of tools that will
examples of the most useful brushes: be especially useful for portrait
painters: there are special brushes for
depicting skin and hair. If you want to
Sketches add texture, try a tool called the
Here you will find the effects of Noisy Brush.
drawing with pencil, crayons and
other dry materials. Try the 6B pencil Before you start working on any
- it's especially good for machine project, carefully study all the
drawing (doodles) and sharpening the brushes in the library. Spend some
gestures needed to draw. time testing them, experiment with
them.
Paints
In the painting section, you can find
square and shiny brushes that The Procreate Brush Library contains
simulate acrylic and watercolor. Use all the tools you need to get started

28 All illustrations @ Lucas Peinador

 BRUSHES

HOW TO ORGANIZE BRUSHES

After experimenting with different
brushes, you might find your
Moving
favorites and want to create a and duplicating brushes
separate personalized set of them. If the brush was one of the default
brushes in the library, it will appear in
Creating a new set the original default set as well.
However, if you move a brush from a
brushes set you created to another
To create a new set of brushes, scroll personalized set, you have to move it,
down the column of brush views until not copy it. In order for the brush to
the + button appears at the very top. appear in two personalized kits at the
Click on it. Give this set a name, such same time, you will have to duplicate
as Favorite Brushes. Click on it again it first.
to rename, delete, duplicate or share
it with someone.

Adding brushes
in the set
To add brushes to a new set, click

rite her and, u

those in the new

bor blinked
in the library

bottom

at

ABOUTRGANIZATION
ABOUT OF BRUSHES

After adding a few brushes to the set, you can arrange

them as you like. To do this, select the desired brush,
hold down and drag it down or up the list. Place
similar brushes next to each other, and then it will be
easier for you to navigate in them,
which will make working in Procreate much more pleasant.

Group and rearrange your favorite brushes for ease of

use

29
SIZE AND OUTSTANDING
When working in Procreate or any other all at once, so that its size and opacity the mode in which the control panels
digital painting program, it is extremely are determined by default; darker, the are hidden (see the designation of the
important to adjust the brush size and app has handy sliders that can be left side toolbar in the section "User
opacity settings. Size allows you to adjusted on a case-by-case basis as you Interface" on page 14). The top slider
determine how large or small strokes work. controls the size of the brush, and the
will be on the canvas with your tools: bottom slider controls its opacity. The
brushes, feathers, or eraser. Opacity The size and opacity sliders are located adjustment tools are positioned so that
controls their density. Each brush can be on the left side toolbar. They are always they can be adjusted with a hand that
edited in such a way visible, unless you have activated the you are not drawing.
full-screen

Experiment with the size and opacity of the brush as you Slider Slider
paint brush opacity brush size

RSTYLUS FIGURE
You can use your finger or stylus (we recommend
the Apple Pencil) to draw with a brush or use the
Smudge and Eraser tools. If you're wondering why
buy a plastic drawing pen, the answer is simple:
the stylus (and especially the Apple Pencil) allows
the program to better recognize pressure and tilt
of the pen. If you increase or decrease the
pressure, or tilt the stylus in one way or another,
your digital strokes will instantly respond to
these changes. This sensitivity allows the
program to create a user experience similar to
those that occur during operation.

over analog drawing and painting.

thirty All illustrations @ Lucas Peinador

 BRUSHES

There are some tricky tricks to tweak the

sliders to suit your needs.

Interface
under the right hand
If your working arm is left, you can
invert the position of the sliders. To do
this, click on the “Actions” icon (the
wrench-shaped icon in the upper left
corner), then select “Settings” and
activate the “Right-hand interface”.

By changing the interface for the right hand,

you can adjust the sliders in a convenient
way

Moving the panel finger on the slider, drag it away from

the side toolbar, and then move the
instruments sliders up or down to adjust the size or
To move the side toolbar higher or opacity of the brush more precisely. You
lower on the screen, hold down the Edit will find that the slider starts to move
button (the small square in the center of slower than usual when you just slide
the panel) and drag the toolbar off the your finger across it. This trick works
edge of the screen, and then slide it up with any Procreate slider.
or down. This is a useful feature if you
want to position the panel according to
the position in which you hold the iPad.
Experiment with the size and opacity of
different brushes to explore all sorts of
Precise control different types of strokes and effects.
When you need precision when moving
the sliders, you can use another tricky
trick - turn on precise control. Holding

To enable precise control, move the

slider group with the button by dragging
it sideways from the edge, and then
move the sliders up or down.

31
SHARE YOUR BRUSHES
Once you've created a personalized
brush set, you can share it or save it
to the Internet or to your device. To
do this, click on the desired set of
brushes and select the Share option,
then determine where you want to
export your set of brushes.

You can also share custom brushes.

Swipe left on the brush you want to
share to bring up a menu with three
options: Share, Duplicate, or Reset.

Share, duplicate, or reset a

brush by swiping to the left

HOW TO IMPORT BRUSHES

If you want to import one of the and the folder where the brush is stored.
brushes or one of the brush sets that Then drag it from the folder to the
you previously saved, or you find a Procreate Brush Library. If it's a specific
brush on the Internet that you would brush, place it in the right column, and if
like to try, there is an easy way to it's a set, then in the left one. Import brushes,
import them into the brush library. just by dragging
Open Procreate at the same time them in Procreate from
your device

32 All illustrations @ Lucas Peinador

 BRUSHES

DRADIENTS
Use a large, soft airbrush to create a gradient
effect. To get one like this, head over to the
Airbrush Brush Set, which is one of the
default brushes in the Brush Library. Select
Soft Airbrush, then click it again to edit the
settings. Go to the general view of the screen
and make sure the size slider is moved to the
right

to the maximum mark.

For a gradient effect

use a large
soft brush

CREATE A NEW STATE

Even with a personalized set of your

favorite brushes, you may feel that
some brush is still missing. If you
can't find the perfect brush, there is a
solution: create it yourself.
Fortunately, Procreate's ability to
adjust brush parameters is incredibly
rich and gives you plenty of room to
work on the very unique brush you
need.

Creating a new brush

To create a new brush, click on the "+"
icon in the brush library. You can give
your brush a name, shape and grain.
Shape describes the outline of the
brush tip, and grain is the texture
that remains on the canvas. Click the
From Pro Library option to choose
shape and grain from the preset
Procreate options. Once you have
defined these characteristics, you will
create your own brush. Your next
action is to personalize it.

Create a new brush,

using the Source section in
your Pro Library

33
Personalizing the brush The form The main
The number of brush options can be a The shape menu lets you adjust how the The General section allows you to
bit overwhelming at first. stroke depends on the rotation of the rename your custom brush. Stamp
Here are some of the most important brush. Use a flat brush to fine tune this Preview will show the actual brush tip
settings for further experimentation. parameter. shape in the library instead of a stroke.
The Browse option gives you the ability
Test all the brush settings as you work, Scatter determines how hard the brush to increase or decrease a brushstroke in
for which drag the brush in the stroke rotates with each smear. the library preview without changing the
preview window. brush itself.
Rotation shows how the shape changes
Corn depending on the direction of the Blending Mode will provide the ability to
As the shape menu adjusts the outline of the stroke. 0% means static and no rotation. paint with a brush with the blending
brush stroke, this menu adjusts the grain. At 100%, the brush will rotate with each mode you want. Orient to Screen will
stroke. cause the brush to move according to
Motion adjusts the graininess of each the screen orientation of your iPad.
stroke. A zero value will produce a Random assumes that the rotation of Feather determines how much the
grainy print, and a 100% grain will be your brush will be different in each case, brush smears the paint as it is painted.
distributed throughout the stroke. and Azimuth sets the rotation of the
stroke to match the angle of your stylus.
“Scale” determines the size of the grain within the Finally, the size limits show the
stroke, and “Magnification” determines whether the maximum and minimum brush sizes
scale of the grain depends on the size of the brush when adjusted with the slider.
or remains unchanged.

Experiment with different menu settings

using sliders to create personalized
brushes

34 All illustrations @ Lucas Peinador

 BRUSHES

Dynamics Smear Pencil

This menu offers three customization Spacing controls the density of your The Apple Pencil Pressure menu lets you
options for your brush. brush. Increasing the values will give increase the size and opacity of the
the brush a dashed line effect. brush so that brush strokes grow in size
Normal is a preset mode that assumes and become less transparent as you
consistently saturated and uniform color StreamLine helps you draw smooth press down on the Apple Pencil or
levels. lines. Set the slider to its maximum stylus. (See page 8 for the difference
value to create a soft, flowing line: between Apple Pencil and third-party
"Gloss" is translucent; it may take a few perfect for creating ink-effect designs or stylus).
strokes to achieve full color in this calligraphy.
mode, as in watercolor painting.
If you want your brush to respond to
The "wobble" will make the brush mark tilting the stylus, start by adjusting the
Moisture simulates the effect of a wet appear like a small splatter. This effect is tilt angle. The larger the angle, the
environment. You can set this mode to ideal for simulating the texture of clouds faster the brush recognizes tilt. For
smudge paint across the canvas, or even or vegetation. example, you can adjust the brush so
set how much paint is contained in each that it becomes more transparent when
brushstroke. you tilt the stylus more. To do this,
increase the values of the "Angle" and
"Opacity" sliders.

35
FAST FIGURE MODE

Quick Shape offers a quick way to

transform the lines and shapes you
draw after you create them. The best
way to understand how it works is to try
putting the Quick Shape into practice.

Straight lines
Draw a straight line, but keep the stylus on
the screen and hold it at the end. Watch as
Procreate transforms a line into a perfect
straight line. Then remove the stylus from
the screen and click on the button “Edit
Shape” that appears at the top of the
screen. This will allow you to modify the
line using blue dots that appear on both
sides of the line segment you are drawing.

Draw a line
and hold it to activate
the mode
"Fast figure"

36 All illustrations @ Lucas Peinador

 BRUSHES

Edit
"Fast figures"
after their creation

Shapes
In addition to simple straight lines,
Quick Shapes allows you to draw
ellipses, quadrangles, or multiple
straight lines. Just draw all the lines in
turn. After releasing the line, you can
edit its position using the blue dots at
the ends. This will help you draw neat
corners and depict the exact shapes of
objects such as cars, tools, or buildings.

Fixation
To draw a perfect circle using Quick
Shape, draw an ellipse and hold it until
the desired mode is activated. Without
lifting the stylus from the screen, place
your finger on the canvas, and you will
immediately see that the ellipse has
turned into a perfect circle. This is called
anchorage and also applies to squares
or lines at certain angles. After the circle
is drawn, click on the "Edit Shape"
button and blue dots will appear on its
circle. By clicking and pulling on them,
you can compress, stretch, or flip your
circle.

Lock the "Quick Shape" with one

more finger
to the screen

37
COLOR
Procreate has four color modes from switch between them in the process use the "Value" mode to select a
which you can choose the one that of work. For example, try applying color;
best suits your workflow: the “Circle” mode to the main part of
your image, and then, when the use the RGB and HSB adjustment
A circle; general color palette is already sliders;
Classical; formed, switch to the “Value” tab to
Value; find more accurate shades. create and change palettes in
Palettes. Experiment with each mode to find different modes;
your favorite.
To find these modes, click on the color share palettes and import them.
swatch icon in the upper right corner In this chapter, you will learn to:
of the screen. The four color modes
will be listed at the bottom of the use the “Circle” mode to select a
Colors pop-up menu. color;

The next few pages will introduce you to use the "Classic" mode to select a
some of the characteristics of these color;
modes and explain why one mode is
better than another and how you can

A CIRCLE

Let's start with the very first mode: Palettes

circle. This mode is perhaps the most You also have access to a swatch box Double-clicking the dial
captures the nearest
intuitive of all, as it allows you to beneath the circle if you like to save
points
adjust hue, brightness and saturation selected colors in this format. There
at the same time, accurately are palettes in any mode, they allow
reflecting their values in the you to save your favorite colors for
chromatic circle. quick access. To learn more about
palettes, see page 41.
Tone
Select a tone such as red or blue using
the outer ring of the circle.

Saturation
and brightness
To lighten or darken the tone, change
the saturation and brightness in the
inner circle. For more precise
adjustment, simply enlarge the inner
circle by stretching it out with two
fingers. Reverse pinch to reduce it again.

Pure colors
But what if you need to choose pure
white or pure black? Procreate offers
an ingenious solution for this task.
There are nine points in the circle
where you can fix the cursor by
double clicking.

38 All illustrations @ Lucas Peinador

 COLOR

CLASSICAL
Tone Pure colors
Digital art veterans are familiar with Unlike the “Circle” mode, there is no
this mode. The tone can be adjusted need to fix the points of the
using the first slider instead of the spectrum, since the edges of the
circle. square ruler include black, white and
other pure colors. In general, this
Saturation and brightness mode is good if you prefer precise
control of the sliders, but still want to
Saturation and brightness can be
see a visual representation of the
adjusted with squares, but there is
selected color.
also an option to fine tune by
separately adjusting the two sliders
located below the hue slider.

Move the sliders,

to customize
color in mode
"Classical"

PWHIPPET
The eyedropper lets you quickly and easily select colors on the
canvas and is an essential tool for any digital artist. When the
eyedropper ring appears, you can move it around the canvas and
select exactly the area from which you want to take a sample. The
lower half of the ring will show the currently selected color, and the
upper half will show the new color that the crosshairs hit.
petki.
To invoke the eyedropper, by default you can click the Edit
button, but there are many other ways to open this tool as well.
Go to Actions> Settings> Gesture> Eyedropper and experiment
with different control methods: pressing, touching, or gesture
combinations until you find a suitable one.

just for you.

39
VALUE
The Value Color Mode offers six
adjustment sliders for the most control
when adjusting color.

Hue, saturation,
brightness
The top three sliders are identical to
those in Classic mode — hue,
saturation, and lightness — but Value
mode displays the adjustment as a
percentage. This allows you to
accurately count, for example, 50% gray.

RGB
The bottom three sliders allow you to
control the red, green and blue readings
in your chosen color. This function is
useful for selecting and mixing colors.

Hexadecimal code
Also, to find a particular color — for
example, as requested by a customer —
you can type in its hexadecimal code (or
hex code, as it is often called).

Value mode
lets you choose
exact percentage of color,
how,
a strong approach

COLORDROP
ColorDrop allows you to paint the entire
canvas with a single color in an easy way. Drag
the color swatch from the upper right corner
of the screen onto the canvas and release it -
the entire surface will be filled with the
selected color. If you activate this command
on a layer that has a shape with a closed path,
then the entire surface will be filled, or
inside or outside the figure.

40 All illustrations @ Lucas Peinador

 COLOR

PALETTE

If you prefer to work with specific sets of

colors, the Palettes mode will come in
Renaming Palettes mode allows you to
handy. Since palettes can be used in all and preservation create your own color picks for
other modes, this mode is often viewed After creating a palette, click on the work
as an addition to existing ones, rather "Default" button to make the palette
than a standalone feature. visible in all color modes. If you swipe
left on one of the palettes, the Share or
Delete options appear. You can also
rename the palettes to make it easier to
Creature navigate in them.
and filling the palette
To create a new palette, click on the +
icon in the upper right corner of the
Palettes pop-up window, then click on
an empty square and place the current
color swatch in it. To delete one of the
samples, hold it down and then release
it - the “Delete” option will appear. You
can create a palette from scratch only in
the "Palettes" mode, but when it is
created, it will become visible in all other
modes. You can add new colors both to
it and to all other preset palettes.

To edit a palette or add a new one to a

different color mode, click on one of the
empty squares at the end of the
corresponding palette and add a new
swatch of the desired color. Replace the
existing swatch by pressing and holding
until the Assign / Remove option
appears, then select Assign.

Before After

41
LAYERS
Layers are the most important tool put layers in place or make major lock, duplicate and delete layers;
for any digital artist, and they are one changes to the image without any
of the main reasons why artists consequences.
choose digital painting. adjust the opacity of the layer;
In this chapter, you will learn to:
use the "alpha-blocking" function;
Think of layers as transparent sheets, use layers for your own
on each of which you can paint convenience;
separately. This approach provides a apply layer blending mode;
lot of wiggle room so that you paint create a new layer;
on one layer without fear of changing use additional layer options;
what you paint on others. You can re- enable / disable layer visibility;

organize and merge layers; apply masks and clipping masks to

layers.

LAYERS: BASIC KNOWLEDGE

Pop-up window Creating new layers Eexperiment with layers, try
"Layers" To create a new layer, click the "+" Try to spread the brush strokes on
To open the "Layers" pop-up window, icon in the upper right corner of the different layers to build the image.
tap with your finger or stylus on the "Layers" pop-up window. Every artist
icon located in the upper right corner uses this tool differently: some like to
of the screen. create new layers for every detail, Layer limit
others prefer to avoid multiple layers In Procreate, there is a limit to the number
and use only two or three. If you are of layers that can be created. This figure
Layer 1 new to digital painting, limit yourself depends on the size of your file and is
When you create a new file, you will to the minimum number of layers: measured in megabytes; the more the file
see two layers. The first is the create a new one only if the weighs, the fewer layers you can create.
Background Color layer and the interference in the work can, in your The exact amount can be seen when
second is Layer 1. Each Procreate file opinion, spoil what is already creating the file - we will talk about this a
includes these two layers by default. depicted. little later in this chapter.
On the left side of each layer, a pop-
up window displays a thumbnail
showing what is drawn on the layer.

Background color layer

If you want to change the background
color, click on the background color
layer and select the desired shade. If
you prefer to work with a transparent
background and then export the image
while preserving the transparency
information, click the checkbox of the
Background Color layer to hide it.

Visibility
By clicking on the checkbox, you can
enable or disable the visibility of any
layer. This is an extremely useful action.
For example, if you want to see the
layer you are working on more clearly,
you can turn off the visibility of the
other layer. Layers are essential for all digital
artists to work

42 All illustrations @ Lucas Peinador

 LAYERS

NAVIGATION BY LAYERS
Moving
and grouping
single layers ABOUTRGANIZE
ABOUT

Start by moving the layers up and

down the vertical popup. Moving a
YOUR LAYERS
layer up in the window means that
The ordering of the layers is
what is not displayed will also be on
necessary for efficient operation.
top of all other layers on the canvas.
The mess in the arrangement of
To move a layer, hold it and drag it up
the layers will lead to the fact that
or down in the list in the Layers
you will not be able to find the
window.
desired elements in your own
files.
If you put one layer on top of another,
a group of layers will be created. Click and drag the layer to the desired
Creating a group is the best way to location to move it
organize your layers. A group
functions like a folder: it brings
together two or more layers that can
later be moved together, but can be
edited separately.

Find out on the next page how to

delete single layers.

Multiple selection
layers
To select several layers at once, click on
each layer you need, and then swipe to the
right with your finger or stylus and release
the screen (the selected layers will be
highlighted in blue). This movement will
Swipe right to select a layer or
allow you to move the selected layers as group of layers
independent of each other. You can also
delete layers selected in this way or apply
other commands to them for the layer
group, which will appear in the upper right
corner. Combine the layers with a pinch of your fingers

Merging layers you need to resort only with one a group that just functions like a
Merging layers is a convenient way to hundred percent certainty. Merging folder.
keep them organized when you don’t differs from grouping layers: in the Merge layers by pinching them
need to work with individual latter case, each individual layer together in the Layers pop-up window.
elements or when you want to apply remains editable inside You can merge any number of layers.
changes to the entire image after you
finish working on a drawing, and you
no longer need to make significant
changes. because only the final
touches remain. YOU ARE EXACT ABOUT SURE?
Merging, or merging, means compressing If you do not undo the merging of layers immediately, this command
two or more separate layers into one flat cannot be revoked in the future. Therefore, it is extremely important to
layer. From the moment of merging, they make sure that this action is necessary, otherwise it will be difficult for
can no longer be edited separately, so to you later to make changes and corrections to the image applied to
this command merged layers.

43
LOCKING, DUPLICATING AND DELETING
If you swipe left on a layer in the layers Block
pop-up window, you will see three It is very unpleasant to accidentally paint
options: Lock, Duplicate, or Delete. something on the wrong layer, especially if
you have been working for a long time and
suddenly realize that all the efforts were
Delete spent on creating the image in the wrong
place. The "Block" function solves this
This command removes the layer. It can be problem. You can turn blocking on or off
restored if you click on “Undo” immediately on any layer.
after deletion, but if you do not do this,
then it is no longer possible to restore the
layer. Locking a layer will prevent you from
altering it in any way, including drawing
or deleting it. To unlock a layer, simply
Duplicate swipe left in the list by layer again and
Duplication will create a copy of the layer. In the Unlock button will appear.
the list of layers it will appear under the
original layer and will be titled in the same
way, so immediately rename the new layer so
as not to get confused.

Swipe left on a layer to block,

duplicate, or delete it

NON-TRANSPARENCY B AND "ALPHA-CHANNEL BLOCK"

Alpha block and opacity are included in

this section because both commands
are performed with finger gestures in
the Layers pop-up window. Both
functions are extremely useful when
working with layers.

Opacity
This parameter controls the overall
opacity of the entire content of the
layer. For example, if you need to paint a
gradient of light on a layer, you can use
the layer's opacity to fine tune the
intensity of the gradient. Or, if you've
sketched on a layer and are ready to
move on to a clean version of the image,
you can lower the opacity of the new
layer and use the sketch below to draw
neat lines on top of it. These are just two
examples - but you can use this function
in your own way. To adjust the opacity
of a layer, click on the desired layer in
the layers pop-up window with two
fingers, and then drag the slider left or
right on the screen to adjust the options.

Click on the layer with two fingers to open the

opacity settings

44 All illustrations @ Lucas Peinador

 LAYERS

Alpha block
This is another useful command that only
exists in digital painting. If you activate the
"block alpha channel", you can draw only on
the already painted parts of the illustration,
without going beyond the desired shape. For
example, it makes sense to apply the
command when drawing a texture on an
already rendered object. To do this, you need
to draw something on a separate layer, apply
an “alpha channel block” to it, and then paint
over the drawing with a texture brush. Once
you become familiar with the “alpha block”
effect, you’ll immediately think of many ways
to use this command in your work.

To turn on the "alpha block" on your layer,

swipe right on the layer with two fingers. A
checkered pattern will appear on the
transparent parts of the layer thumbnail in
the layer list. Turn on the "block
alpha channel ",
gasping two
face to the right

""BLOCK A A-CHANNEL "

Draw the silhouette of the volume turn on the "block alpha-
la "to portray channel" any details
th silhouette. This approach inside it- you work with a
and chi neat trajectory.

45
MIX MODES
Blending modes allow one layer to If you change the blend mode on a layer,
interact differently with other layers the letter “N” will be replaced with an
below it. Some artists find the use of abbreviation representing the mode you
blending modes absolutely necessary selected. For example, in the "Saturation"
for their practice, while others, on the mode, the layer will be written
contrary, do not use them at all. "Sa" (Saturation).

Take an image from the downloads

To access the blend modes menu, and experiment with the different
click on the small “N” on the layer modes, see how applying them
located in the Layers pop-up window. changes the final result (see page 16
"N" refers to the item "Normal Mode" for how to import an image).
- this is the default preset state of the
layer, in which no blending occurs.
Several blend modes are discussed Please note that in the same menu
below, grouped there is a slider for adjusting the opacity
of the layer, in case you immediately
into different categories. want to change its settings.

Blackout
The Burn mode enhances colors by reducing
for what they acquire darker
shades.

Team "Multiplication" used by

in this mode most often. It multiplies
the intensity of your colors by the
colors on the lower layers, which
allows you to create effective
shadows. This mode cannot darken or
enhance pure white, so it makes it
transparent. This is useful if you are
creating a graphic line art on a white
layer and want to color the layers
below it.
Multiplication Norm

Lightening
The Lighten mode is the opposite of
the Darken mode: it blends colors to
create a lighter blend.

Use the Screen command when

adding a light source to your
illustration, or apply Color Dodge to
enhance the contrast and highlight of
the image.

Lightening the base Norm

46 All illustrations @ Lucas Peinador

 LAYERS

Contrast
Saturation combines the effects of
Burn and Dodge. As a result, you
always get a heightened contrast
between the light and dark areas of
the image.

The Overlay option is the most

popular in this mode; it can be used to
deepen the color and thereby alter
the mood of the image.

Overlapping Norm

Difference
The Difference option combines or
inverts colors to create a photographic
negative effect. This mode is suitable for
various experiments.

Difference Norm

Color
The commands of the "Color" mode allow you
to configure the interaction of the parameters
of hue, saturation and brightness of a layer
independently of each other.

The Tint and Color options are often

used to add tint to grayscale
illustrations. Experiment with
different modes to see how they
change the final image.

Tone Norm

47
ADDITIONAL LAYERS OPTIONS
There is an additional menu with layer stick only on surfaces on which The "Edit Text" option opens a text
parameters. Depending on the type of something has already been painted (as editor; it is designed exclusively for
layer you have selected, this menu will we discussed on page 45). working with text layers.
display various options. Procreate will
show only those options that are The Clipping Mask tool makes the
appropriate for a particular layer. current layer a clipping mask of the The Rasterize function is also designed
layer below it. (We'll talk about clipping for text layers, it turns text symbols into
Select the layer and click on it a second masks below.) pixels.
time to open the menu.
The "Mask" function will hide what is on
The Rename command is self-explanatory, your layer (we will also talk about this in
but it is helpful to know where exactly you more detail below).
can find it.
The Invert command will reverse all the
The Select option will allow you to select colors in your layer.
the content on the layer (the Select
function will be discussed in detail in the The Reference option allows the current
next chapter). layer to specify where the ColorDrop will
be applied in other layers.
Clicking "Copy" will duplicate the
contents of the selected layer. Clicking on "Combine With Bottom" will
combine the current layer and the layer
The Fill Layer command will fill the layer with below it into a group.
color.
The Merge With Bottom option merges the
The Purge function will remove all content selected layer with the layer below it into
from the layer. one layer.

The option "Block alpha channel" will make the The Merge command is for groups of
empty pixels of the layer unavailable for editing, layers. It combines a whole group of layers Click on the selected layer to open a
that is, you will have the opportunity to into one layer. menu of additional options

MASK
How to use the mask
If you learn how to apply a mask in your
work, you will find that it is a very simple
but extremely useful tool. Select the
layer and then click on the mask to
create a white layer on top of the
selected one. This new white layer is
your mask. If you start painting on the
mask with black, it will mask what is
painted on the layer you selected. If you
use white, it will make the hidden areas
visible again. By using a gray color, you
will only partially hide the drawing on
the layer. The picture on the right shows
how black and gray strokes on a layer
mask partially hide the blue color of the
upper layer, revealing the light blue
color of the other layer below it.

Masks are extremely effective as they

provide a continuous workflow. Instead
of deleting elements of the drawing and
losing information saved on the layer,
you can simply hide the unnecessary
with a mask and thus keep the content Masks are the best way to remove elements of a
at your disposal in case you still need it. picture without destroying it.

48 All illustrations @ Lucas Peinador

 LAYERS

SCRAPING MASK
A clipping mask is similar in description
to a regular mask, but it has more in
common with the Alpha Block. Whereas
the Alpha Block lets you paint
exclusively on the already painted pixels
on a layer, a clipping mask lets you do
the same, but on a different layer.

For example, let's draw a circle on a

separate layer (use the Quick Shape to
create a circle and then fill it with color
using the ColorDrop command). This layer
will set the conditions for where exactly
you can paint in the clipping mask mode,
since you will not be able to apply it on the
transparent areas of the layer.

-
Yu
m
-
I
-
n
...
-
about

to Keep your workflow efficient with

clipping masks

ABOUTTRAVEL
ABOUT

MASKS
Use clipping masks when painting
shadows on the layer. Draw the
base shadow using the shape or
silhouette of the object, and then
create a new layer and apply a
clipping mask to it. Now draw a
shadow. This will allow you to
adjust the shadow regardless of
bridges from a color or object.

49
ISOLATION
“Selection” is needed in order to him, thus leaving the rest of the use "Automatic selection";
select the area on which you want to canvas intact. The best way to
paint, or the elements that need to understand how this works is to try
be modified (the “Transform” tool will the tool yourself: experiment with the use "Free selection";
be discussed on page 54). image taken from the downloads.

The selection menu appears when you click on use the selection methods
the “S” icon in the upper left corner of the screen. In this chapter, you will learn to: "Rectangle" and "Ellipse";
When you click on the “Highlight” icon, the menu
will appear at the bottom of the screen. Here you use selection, so that add, delete, invert, duplicate,
can choose the appropriate mode, as well as the improve the creative process; feather and clear selected areas.
selection modifiers.
remove selection and return the
Having selected a certain area of the previous one;
image, you can only change

AUTOMATIC SELECTION
The first mode in the menu is Auto get the selection you want, just click a character's hair or a landscape
Highlight. This mode allows you to on the tool icon and a diagonal depicting the sky.
highlight a range of similar colors striped hatch will appear. It shows
depending on where you touch the which areas have been highlighted. If It should be remembered that the
screen. If you want to expand the you want to go back and change the selection works only on the currently
selection range, also called the selection, hold down the “Selection” selected layer. This is especially
selection threshold, swipe right icon until a menu appears. important when using automatic mode,
across the screen. If you need to, on because in it the areas that you can
the contrary, reduce the range, swipe select are determined by the content of
left. When you swipe or tap with your Automatic selection is especially useful in the current layer.
fingers on the screen to select a cases where you have already merged layers,
specific area of the canvas, it but want to somehow change areas of the Use automatic selection to separate
becomes one color. As soon as you drawing with similar colors: for example, objects with high color contrast

Selection Threshold 23.9%

fifty All illustrations @ Lucas Peinador

 ISOLATION

ARBITRARY SELECTION
Freehand mode is easy to use and the dotted line disappears. Continue You can also use both methods at the
remains one of the most important dotting in the same way to draw a same time to achieve the desired
tools in any digital artist's toolbox. polygonal shape around the area you highlight effect.
Select the item "Random selection" in want to select. When you get the
the general menu "Selection" and desired result, click again on the very
move your finger or stylus across the first point to close the resulting shape
canvas to select the desired one. and complete the selection process.
If, after creating one shape, you
You can also click on the screen to fix continue to draw others, they will all
Random mode
a point on it, and then put a second: be combined into one selection.
allows you to get
then between them as accurate as possible
selection of the desired area

roizvolbnew youdivision

51
five
one
SELECTIONS "RECTANGLE" AND "ELLIPSE"
A preset selection is useful for a variety
of uses — for example, you can use it to
create circular masks or select an area
of the canvas to crop and move
anywhere. Just click on the "Rectangle"
or "Ellipse" option and adjust them to
the shape you want. An added bonus is
that you can make the ellipse perfectly
circular by clicking on the ellipse and
dragging it across the canvas with your
second finger on the screen.
Rectangle and Ellipse selections
let you quickly create geometric
shapes

ellipse highlight

52 All illustrations @ Lucas Peinador

 ISOLATION

EXTRACTION MODIFICATORS
Within each selection mode there are a
number of modifiers. The "Add to
Selection" and "Remove from Selection"
buttons can be especially useful when
using Freehand mode. Add will attach
the selected selection to another
selection you have already created,
while Delete, on the other hand, will
exclude a specific area from an existing
selection.

The "Invert Selection" command allows

you to reverse the selection. This is a
useful feature as it is sometimes easier
to select areas where you don’t want to
draw, than to select the entire area
where you will be working. Copy allows
you to copy the entire contents of the
selection to another layer. Remember
that selection only works on the
currently selected layer, so be sure to
od
nyatabout d fi atop
odele andII

ABOUTDISPLAY
ABOUT

MASKS
DISTRIBUTION
If you find it difficult to work with
the diagonal shading that denotes a
selection, you can increase or
decrease its opacity. To do this, go
to “Actions”> “Settings” and adjust
the parameters of the slider
“Visibility of the selection mask”.
niya ".

53
five
3
 TRANSFO RMATSIA
The Transform tool lets you move, The "transformation" will be applied to use function "Distortion"
rotate, reflect, distort, and deform all of the layer's content. and "Warp";
elements of your image.
“Transformation” can be activated by As with Selection, there are several work with the "Advanced Mesh"
clicking on the arrow-shaped icon at modes and functions in the button;
the top of the screen. This tool works Transform menu. Experiment with
well with Selection. If there are them using one of the illustrations flip selected areas, rotate them, fit
selected areas on the canvas (in this you'll find in the downloads. into the canvas and reset
case, the “S” icon will be blue in the indicators;
upper left corner of the screen), you In this chapter, you will learn to:
can transform the selected elements. use the "Magnet" function;
If nothing is selected on the canvas, use the transformation modes "No
the command Snap" and "Uniform"; apply "Interpolation".

LOOSE AND UNIFORM MODES

The difference between these modes is
especially noticeable when scaling an
object.

Create an object, then click the

Transform tool to bring up a menu.
You will see a rectangular area
surrounding your object. This area,
also called "marching ants", is
Before the change
composed of dashed lines that denote
the boundaries of the highlighted niy
area of the image. Use the blue dots
to reshape the object, or the green
dot to rotate it. If you grab a point in
the corner of a rectangular area and
try to move it, then both the height
and the length of the object will
change simultaneously, that is, its
proportions will remain unchanged.

"Without binding"
In the "No Snap" mode, you can tighten
and stretch the proportions of the object.

The "No Snap" transformation allows

you to change the proportions of an
object

54 All illustrations @ Lucas Peinador

 TRANSFORMATION

Uniformly
On the contrary, if you chose the state. So, when you edit the size of a
“Uniform” transformation, it will preserve character's head, it may be important for
the proportions of your object and will not you to maintain its proportions, but if you
allow you to shrink or stretch it. change the scale of the mountains on the
horizon, increasing their height and width
Both the Unbound transformation and the Homogeneous will help make them more realistic.
transformation have their own advantages.

Before changes

DISTORTION
The "Distort" mode allows you to selection areas are independent of
transform the perspective of an object each other. This allows you to create
without any restrictions. This is similar diagonal distortion, so this mode is Select mode
to the Non-Snap mode, but in this case, invaluable when working with "Distort" to
transform an object without
all the points on your rectangular textures on volumetric objects.
any restrictions

Before changes

55
five
five
DEFORMATION
Warp mode lets you bend objects as if
they were drawn on a piece of paper. To
get different effects, you can move the
mesh that overlaps the rectangular
selection area, or bend the shape
yourself. You can also click on points
around an object to move them
backward or forward in space.

If you need finer control over how the

object should bend, click on the
Enhanced Mesh button. Additional
points appear on the warp mesh.

Before the change

niy

"Deformation" allows
bend objects like sheets of
paper

56 All illustrations @ Lucas Peinador

 TRANSFORMATION

TRANSFORMATION OPTIONS
In addition to the basic transformation modes, Interpolation which one is best for your purpose. You
within each mode there are options that allow This function offers three options for may find that some interpolation modes
you to customize the transformation in all details transforming pixels within an object: give more accurate results than others,
and the way you want. These commands appear especially when you increase the
at the bottom of the screen when the Transform Nearest neighbor selection.
tool is selected. Bilinear
Bicubic
Reset
Magnet From the first to the last option, the The Revert command will undo the
Activate "Magnet" and you can change options change the intensity of the transformations you applied earlier and
your object with fixed constraints: for effect from a sharper to a smoother return the object to its original appearance.
example, rotate it in 15 ° increments or effect. Try to apply all three approaches
scale in 25% increments. This is useful if to your drawing to understand
you need to respect certain dimensions
and axes when transforming.

Moving
Reflect 90 degrees
horizontally"
and "Reflect
vertically"
These commands are needed to work with
symmetrical objects.

Rotate 45 °
This option allows you to rotate the
object 45 °; however, you can do a lot
more if you use this command in
conjunction with Magnet.

"Fit to screen"
This transformation will enlarge the
object to fit the canvas. The object can
fit either in width or in height,
depending on whether the “Magnet”
command is enabled.

"Magnet" allows
move object
on straight axes

57
five
7
SETTINGS
The magic wand icon in the upper left adjust "Sharpness"; use the
corner of the screen brings up the
Settings menu. Here are collected "Noise" setting; apply the
effects that can be applied to an
illustration to change its overall "Plastic" option;
appearance. Effects can be used on
separate layers, but in some cases it is activate the "Hue, saturation,
better to immediately affect the brightness" function;
entire image. “Settings” can change
only the currently selected layer, and adjust the "Color Balance"; use
it is also convenient to combine them
with the “Selection” command. This "Curves";
means that if there is a selection on a
layer and you apply the “Settings” to influence the image with "Re-
tool, then it will only affect the paint".
selected area of the image.

In this chapter, you will learn to:

use the "Settings" to improve your

drawing;

use the Gaussian Blur function

correctly;

enable Motion Blur and Perspective

Blur;
Click on the magic wand
icon to bring up the
"Settings" menu

GAUSSIAN BLUR
The second option in the settings menu
is Gaussian Blur. This absolutely
necessary command allows you to
uniformly blur the selected layer. This
effect may be needed in a variety of
cases. For example, it is useful if you
want to blur the background behind a
character, or soften a gradient,
highlight the character of your drawing,
or depict clouds in the sky. Gaussian
Blur is also extremely easy to adjust.

Just click on Gaussian Blur and then

swipe left or right to decrease or
increase the blur, respectively.

Gaussian Blur is a very useful

effect for depicting distance
between objects

58 All illustrations @ Lucas Peinador

 SETTINGS

"MOTION BLUR"
AND "PERSPECTIVE BLUR"
These two options are similar to
Gauss Blur: they also blur the image,
but give the strokes a certain
direction. Motion Blur creates the
effect of straight lines, which is useful
if you need to create the illusion of an
object moving parallel to the camera.
Perspective Blur applies the same
effect radially, and this can be used to
make the subject appear to be
moving towards the camera.

Motion blur
To apply Motion Blur, open the Settings
menu, select the appropriate option,
and slide your finger across the
illustration. The direction in which you
move will determine the axis of the blur,
and the length of your stroke will
determine the intensity of the blur.

Blurring perspective Motion Blur can be used for the effect of

Perspective blur works a little moving at speed
differently. After selecting this function,
a dot will appear on the screen. It shows
the center of the radial blur and can be
moved with a simple drag and drop.
When you find a suitable place, swipe
from it to the left or right on the screen
to increase or decrease the strength of
the blur. Alternatively, you can click on
the Guide option at the bottom of the
screen to convert the radial blur to a
conical blur if that option suits you
better.

Perspective Blur also creates a sense of

movement.

59
five
nine
SHARPNESS
Sharpness increases the contrast
between adjacent pixels, making the
edges of the image sharper and
brighter.

As with other options in the Settings

menu, after selecting Sharpness, you
can swipe left or right to increase or
decrease the effect. But be careful:
although the temptation to push the
values to the right to the end is very
high, excessive sharpening will make
the drawing grainy and accentuated, all
the color details will be overloaded.
wives.

Sharpness is a great way to bring out

details, but it's important not to
overdo it

Using
instrument Before measurement

"Sharpness" nenii

60 Illustrations @ Lucas Peinador

 SETTINGS

NOISE

If you look closely at an enlarged photo

or frame from a video, you will notice
noise everywhere: it gives the subject a
slight graininess, and thus creates a
certain atmosphere. Digital illustrations,
in comparison with analogous ones, on
the contrary, sometimes seem too
smooth, neat, devoid of texture. To
avoid this, you can use the Noise option:
it adds a layer of noise on top of the
image, giving the illustration a touch of
the photo.

Click on the Noise command and then

adjust the adjustments: swipe to the
right to increase the graininess, and to
the left to decrease it. As with the
Sharpness filter, it is important not to
overdo it here, otherwise the result will
look too artificial.

High Reduced
level of sharpness sharpness

H
HASTROIKA AND MASKS
Fine-tuning the Settings mode can be tricky.
Let's say you want to apply Gaussian Blur to
the entire image except for the main
character's face. To do this, it is best to
activate the selected option on the
duplicated version of your image, and then
use a mask to
stacks to which
which way you
every detail

61
one
PLASTIC
"Plastic" is one of the most spectacular With the Shrink command, the deformation
options for the "Settings" Procreate. on the canvas will be like thorns, and in the
Clicking on it, you bring up a menu at the case of More, it will take the form of droplets.
bottom of the screen, which contains
several tools and sliders.

Instruments
The three most useful Plastics tools
are the Pull, Shrink, and More
commands. Drag can be used to drag
the pixels, Shrink lets you move pixels
to the center point of the canvas, and
More moves pixels away from your
selection. The rest of the tools are
also very interesting to experiment,
but not so useful. Whirlwind
clockwise, Whirlwind
counterclockwise, Crystals and Edge
can distort the image in the strangest

way.

Sliders
Under designations instruments
the menu contains sliders, which can
also be used to adjust the “Liquify”
effects. “Size” determines the scale of
the brush: the “Plastics” brush is
adjusted from this menu, and not
using the usual slider in the “Brushes”
pop-up window. Pressure adjusts the
strength of the effect — it works in
the same way as the Opacity in the
regular brush menu. If you increase
the "Impulse" values, the "Liquify"
effect will continue to spread even
after you take the stylus off the
screen. Finally, Distort deforms the
image. You can increase the values
of this slider for each instrument to
increase the randomness of their
effect. For example, increasing the
values of this slider when using the
Pull tool will cause waves to appear in
the image, if

Apply Liquify to transform the illustration

and enhance its effect

62 All illustrations @ Lucas Peinador

 SETTINGS

TONE, SATURATION, BRIGHTNESS

Hue, Saturation, Lightness (HSB) is a
simple part of Settings that lets you
change color using three different
sliders. It is convenient to use it to
test different color combinations on a
painting without changing the
shadows superimposed on the
drawing.

Clicking on this option will bring up a

menu with three sliders. You also have
options to reset the changes you made,
turn on the before and after view, and
take everything back one step or redo
the undone step.

Using
instrument "Tone, Before changes
saturation,
brightness "(HSB)

Experiment with the hue,

saturation and brightness
of the image

COLOR BALANCE
Think of Color Balance as the little
brother of Hue Saturation Brightness
(HSB). Imagine HSB is a bucket of
paint and Color Balance is a
paintbrush.

This “Settings” item allows you to

individually adjust the amount of red,
green and blue in the image using the
corresponding color sliders. You can
even individually adjust Shadows,
Midtones, or Highlights on your
artwork.

Apply Color Balance to fine tune the colors

of the entire image. For example, if you With a touch Adjustment example
need to lower the temperature of the
saturation brightness
shadows and increase the temperature of
the highlights in the illustration.

Color Balance offers a more

subtle approach than HSB,
which does not make this
feature less useful.

63
CURVES

Curves allow you to micro-adjust image

colors, making this setting one of the
most powerful features in your arsenal.
While Curves can be quite confusing at
first, once you figure out exactly what a
curve means, you'll quickly realize that
this kind of setting is as simple as any of
the others.

Click on the "Curves" item to bring up a

histogram with a line in the middle. If you
drag the middle of the curve, a point will
be created. You can move this point to
change various parameters of the image:
moving the indicators up will make the
picture brighter, and downward - darker.

Hue changes,
saturation,
brightness control Before changes

Curves may seem intimidating at first,

but they are no more difficult than
other Procreate tools.

Many artists in their work limit the use

of Curves by adjusting the tone in the
image. This is valuable in itself, but you
can also adjust the amount of red,
green, or blue in each color metric in
your artwork. For example, if you find
the highlights in an image too yellow,
try clicking on the blue channel in the
Curves control panel (blue is the
complementary color of yellow) and
dragging the right side of the curve up.
This will increase the amount of blue in
the light areas, and, consequently,
decrease the yellow values.

Adjustment example
color and balance Before changes

"Curves" at first glance seem like a

puzzle, but in fact, figure it out
they are no more difficult than everything else

64 All illustrations @ Lucas Peinador

 SETTINGS

DHISTOGRAMS
In Procreate, a histogram is a graphical
display of the color values of an image.
The left point denotes black, and the
right one - white, between them the
rest of the spectrum colors are located.
The height of the columns in each
section shows the corresponding values.
the color in the image.

Repainting
The Recolor item is a simple feature that to try to select all of the character's skin,
can save you time if you make big simply select a new color from the color
changes to the image at the very end of palette, then go to Overpaint, click on
the work. the character's skin, and the situation
will be instantly corrected.
Let's say you've finished painting an
illustration, merged all the layers, applied a
series of post-processing effects, and then
Setting "Repainting"
your client suddenly wanted to change the allows you to save
skin color of one of the characters. Instead of a lot of time at
making changes

After
adjustments
colors
Before color adjustment

65
five
ACTIONS
To call up the "Actions" menu, click on apply various commands and
the wrench icon. The menu contains a “Settings” tabs to customize
wide variety of functions, from Procreate to your requirements;
personalizing gestures in Procreate to
connecting a different stylus. manage "Gesture Control" and
adapt it for yourself;

In this chapter, you will learn to: work with time-lapse video from Pro-
create, understand how this feature
use the "Add text" option; helps artists share work and learn
from each other.
apply commands from the
"Canvas" tab;

activate and edit the "Drawing

guide"; use the “Automated
drawing” mode;

ADD
To open the Actions menu, click on
the wrench-shaped icon in the upper
left corner of the screen. You will see
several tabs and the first one will be
"Add".

Here you can:

Embed files directly from your
device.
Embed photos from Procreate
gallery.
Take pictures with your
iPad. Add text.

Below are the options that are identical to the

copy and paste menus: this is necessary on
occasion, if it is more convenient for you to
activate these commands from here, so as not
to use the gestures that we talked about on
page 26.

Add tab includes options for pasting

various items, and copying and pasting
layers

66 All illustrations @ Lucas Peinador

 ACTIONS

ADD TEXT
Click on the Add Text option to create
a text layer called Text. The text color
will be set in accordance with the
color that is currently selected for
work: it will be displayed as a color
swatch in the upper right corner of
the screen. When you have typed
what you want, click on the "Edit
Style" button. You will see a menu of
styles, where you can select the font,
size, opacity, style and distance
between letters, as well as import
your own fonts.

Click the Edit Style button to edit the

font, size, opacity, style, and letter
spacing in the text

Add text option

offers a wide variety of
styles

67
CANVAS
Canvas is the second tab in the Actions will maintain the specified proportions of width
menu. Here you can view and edit the and height.
characteristics of your canvas.
The Crop & Resize menu also displays
The Crop and Resize option allows you the layer count. It shows the maximum
to resize the canvas. You can crop it by number of layers that can be created in
placing a rectangle around the selected this file. The larger the canvas, the lower
area of the image, or change the the counter readings.
resolution of the entire work by
entering the corresponding numbers in
the boxes at the bottom of the screen. The Canvas tab also offers the ability to
You can also rotate the image using the flip the canvas horizontally and
slider. vertically. This is useful if you need to
take a fresh look at your work and find
The value in the first box is the width, and any mistakes. Below is the item
the second is the height. If you click on the "Information about the canvas" - it
icon in the form of a chain, then these contains information about the size of
indicators, when you change one of them, the file, the number of layers used, the
will retain the specified proportions. To size of the canvas and the time spent at
enlarge the image (and not just the canvas work. Time tracking can be useful to
around it), click on the "Resample" button. keep track of how many minutes and
This command will automatically hours it took to create a whole image. Click the Canvas tab to edit the
characteristics of your canvas

Easily cut and resize your work

68 All illustrations @ Lucas Peinador

 ACTIONS

DRAWING GUIDE
Using a Drawing Guide is the simplest Symmetry
way to create grids (guides) that you can This option prompts you to select the If you activate Axial Symmetry,
draw on. The function should be type of symmetry that you would like to symmetrical lines will appear on the
activated in the "Canvas" tab. Below in use to draw the lines: vertical, canvas following a uniform direction,
the drop-down window is the item "Edit horizontal, quadrant or radial. You can while when Axial Symmetry is off, the
drawing guide". Select this command to also turn axial symmetry on or off. If a lines will follow opposite directions.
bring up a menu that shows the types of
guides, as well as their other
characteristics. You can choose from 2D
Mesh, Isomerism, Perspective, and
Symmetry. They are all fairly simple and
share some adjustable characteristics
such as color, thickness, and opacity of
the guides. Drawing Guide also lets you
snap brush strokes to guidelines. This is
useful when you need to put scenes in
perspective. To enable this feature, turn
on Auto Draw.

2D mesh
It is a lattice consisting of vertical and
horizontal lines equidistant from each
other. It comes in handy if you need to
split the canvas into equal parts or
distribute objects evenly across the
canvas.

Isometric
It is a lattice consisting of vertical and
diagonal lines, the latter of which are at
an angle of 30 °. This option can be used
to render objects that are drawn in 3D,
but do not seem to defy the laws of
perspective.

Perspective
This grid is unique in that it allows up to
three vanishing points to be placed on
the canvas with a simple tap on the
screen. They can be dragged to
reposition or removed by clicking again.
The Perspective grid lets you create up to three vanishing points

DRAWING WITH ANCHOR

Anchor painting is tied to specific layers - you can turn
it on on specific layers of your choice. To do this, open
the "Layers" drop-down window, click on any layer
and turn on "Snap drawing". When the option is
activated,
a check mark appears next to the layer name.

69
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SETTINGS
The Settings tab offers some useful hold the screen while canceling the
options for personalizing and previous step to initiate automatic
improving workflows in Procreate. cancellation of further steps.

If you don't like the dark Procreate Selection Mask Visibility controls
interface, replace it with a light one. the visibility of the checkered hatch
that appears when an area is
Right-handed interface allows you selected on the canvas.
to move the side control panel with
size and opacity sliders from the “Connect a third-party stylus”
right side of the screen to the left, needs no further explanation. You
so that they can be adjusted with will only need this feature if you do
the left hand. not have an Apple Pencil.

The Brush Cursor can be turned on

or off to show or hide the shape of Finally, the Change Pressure Curve item
your brush as you paint. allows you to properly adjust the
Procreate pressure response when
creating strokes on the canvas.
Display Canvas lets you share your
canvas without showing the entire
interface when you share your
screen with another device. Settings tab
contains many
Quick Cancel Delay determines how useful options
long you have to

TO
TORIVE PRESS
Each of us has a familiar, natural way
to hold a karadash in our hand. Some
grip it lightly, others grip it with all
their might, as if it were an empty tube
of toothpaste. The pressure curve
adjusts the pressure sensitivity of the
screen. A descending curve is suitable
for those who make lighter strokes,
while an ascending curve is
schhaya — for people with a heavy hand.

70 All illustrations @ Lucas Peinador

 ACTIONS

GESTURE CONTROL
The last item in the Settings menu is
Gesture Control. Here you can
customize Procreate gestures to
optimize your workflow. For example,
you can make the Feather tool turn
on every time you touch the screen
with your finger instead of the stylus,
or you can set a special gesture to
invoke Automated Drawing, you can
change the way the Eyedropper is
invoked. or shorten the time of its
appearance.

A couple of handy optimization

techniques that we can advise are to
configure the Quick Menu with a
touch, as well as the ability to
activate the Layer Selection with the
Change button and an additional
finger tap. These two teams will
greatly speed up your work on large
projects.

Customize gestures under

yourself in the "Gesture
control"

VIDEO
Procreate prides itself on its unique To view the created video, click on the
time-lapse video recording feature, "Play Time Lapse Video" item. Rewind
which sets it apart from other digital or open any point you want using the
painting programs on the global adjustment sliders by swiping
market. forward or backward with your finger.

The Actions menu has a Video tab. If

you activate the Record Time Lapse To export video, select the Export
Video option, Procreate will record a Time Lapse Video option. Procreate
video that captures every allows you to export the complete
brushstroke and action in the file. video, and if it is quite long, you can
This option is a great boon for the create a version compressed to 30
artist. Not only can you learn about seconds. Select one of the video
your videos by improving your own options, and then specify where you
workflow, but you can also share want to save it.
these videos with other people.
Procreate records videos of your
work by default
over the canvas — use this
opportunity to your advantage

71
one
PROJECTS
Now that you understand how to use
Procreate, it's time to put your
newfound knowledge into practice.
Explore the following eight tutorial
projects by professional artists to
practice creating a variety of
illustrations in Procreate.

The artists on each project used the

Apple Pencil to work on their images.
Note that if you are using a third-
party stylus, you may not be able to
accurately replicate the effect
produced by the brush strokes in the
sample on the pages below. This is
especially true for the advanced
pressure and tilt settings in the Apple
Pencil. Nevertheless, throughout the
book we use the word “stylus”
everywhere, since you still have the
opportunity to connect a third-party
stylus to the program.

Be sure to download the free

materials (see page 208 for details)
for each project before you start.

72
73
ILLUSTRATION
Izzy Burton

This project will tell you how to create

an image of a fantastic landscape with
architectural elements, how to convey
an atmosphere of mystery and attract
the attention of the viewer.

You will learn to develop the idea of

the future design of buildings in your
drawing, using your own photographs
of architectural structures for
inspiration - from the sketching stage to
a detailed color sketch, and then the
finished work. You will learn how to
block shapes and pixels within them so
that you can paint over them and
change their texture. You will also learn
the basic skills of working in Procreate,
you will be able to add light and details
to your works that will bring the
illustration to life. The skills learned and
the techniques developed can be easily
applied to other illustrations to help you
work on future projects.

Although we use photographic

samples in this project, never forget
to rely on your imagination as well.
The main feature of the illustration is
that it is not limited to the
coordinates of reality; enjoy the
creation of a world that may be
inspired by familiar things, but
assumes its own fantastic, sometimes
exaggerated colors and forms. UZ
Have
ZH
HBUT
ThT
TE
E,, TO TO::
BUTTh TOBUT
BUTTO

Lock shapes and pixels so brushes

paint only on the selected shape.

Use clipping masks.

PAGE 208 Add light and glare to the final

illustration.

Include objects in the existing

environment.

Experiment with brushes.

Use whimsical elements that add

charm to the illustrations.

74
 Illustration

01
Before you begin, take the time to
formulate an idea and collect visual
references to help you design your
illustration correctly in the future. When
working on an image in which
architecture plays an important role,
you will need to take photographs of the
architecture — this could be your own
home or any other location. The
Moodboard on the right contains a
selection of photographs from Lewis in
England - in this city you can find truly
old architecture from the Tudor period:
it corresponds to the very mystical, fairy-
tale atmosphere that our illustration
should recreate.

Creating a mood board with photos

can be a source of inspiration for you

02
Now let's equip your workplace. You can
use iPad's Split screen feature to place
the mood board next to your Procreate
canvas. Swipe up from the gray bar at
the bottom of the screen to open the
dock. Press and hold the Photos app,
then drag it onto the screen. Now find
the mood board in your photos (the
dock only shows recently used apps, so
if Photos doesn't show up there, just
open that app separately, then go back
to the dock - now Photos should appear).

Set up your workplace

75
five
PROJECTS

03
Activate the Quick Shape option to
create four sketching panels on
which to sketch (see page 36). After
drawing the four lines of the first
frame, choose Transform> Uniform
from the menus, and scale down the
resulting frame to a quarter of the
screen. Then duplicate the layer. Use
the Transform tool to place the
second frame next to the first, then
repeat the duplication of the layer Reduce the frame, duplicate it
until you get four frames. Finally, four times to get four frames,
and then merge all the resulting
merge the layers together so that all
layers together.
four frames are on the same layer.

Draw straight
lines using the "Quick
Shape" option

04
Sketch using brushes from Sketch> Give a new layer for drawings on top of the
Pencil 6B. Sketches are rough, quick layer with sketches. To avoid confusion,
sketches designed to capture the remember to name the new layers.
idea, general appearance, and
composition of a drawing, but not the
details. Allow yourself to approach
the issue with the utmost openness Create a new layer for your
and ingenuity - now is the time to sketches; give each newly
experiment with different created layer a name for easy
incarnations of your idea. Con- navigation

FROM
FROMOVET

ARTIST
If you are using an Apple Pencil
(2nd generation), double-click
the bottom of the stylus to
switch from the Eraser tool to

"Brush" and back.

05
Use the Transform tool to size and
rotate all of your drawings. If you Change parts of the sketch
only need to shrink a portion of the using the "Selection" option
image, use Select> Freehand and
draw a circle around the area you Then activate the Transform tool to Randash 6B ”offers some pretty
want to resize. give this section the desired size or interesting shadow effects when the
angle of rotation. "Ka- stylus is tilted at different angles.

76
 Illustration

one 2 3 four

Completed sketches

06 Modify
Let's say you like the sketch selected areas
2, but Sketch 3 also has some nice outline with
"Selections"
elements. Create a new sketch that
combines the above two. To do this,
first apply Selection to outline the
sketch.
2, and then open the Copy and Paste
menu and select the Copy and Paste
option. This will create a new layer
called "From Selection". Make the rest
of the sketches visible, and then copy
and paste using the "Selection" area
from Sketch 3 that you think is good -
in this case, this is the tower. Use the
Transform tool to move the tower and
resize it. Merge the layers of the final
sketch and paint in the remaining
gaps.

In Sketch 2, delete the area Use Selection to copy and paste the Combine the sketches by copying and
you don't like. tower from sketch 3 pasting successful details from one to
the other

77
PROJECTS

07
Now that you are happy with your
sketch, hide the rest of the layers and
resize the selected version of the
artwork to fit into the canvas. Choose
Transform> Flip Horizontal. This is the
best way to make sure you get the
perspective right and don't draw
everything at an angle. If it turns out
that the drawing is still made at the
wrong angle, hold down the points of
the rectangular area of
"Transformation", thereby activating
them, and then move these points to
correct the image. Then turn on Flip
Horizontal again to revert to the original
orientation of the pattern.

Flip the canvas horizontally to check if the

sketch is correct

08
Another great way to fix drawing
mistakes is to use the Settings> Liquify
command. Use the "Push" function to
move individual sections of the sketch
around the desired areas with the
stylus. Experiment with the other
options in the Plastic section to refine
your sketch.

Use the function

"Plastic" to
improve the sketch

78
 Illustration

09
Now is the time to draw a more accurate
sketch. Start by lowering the opacity of
the layer and then create a new layer
and name it Final Sketch. Draw on this
new layer using the original sketch as a
guide for the lines. In the new sketch,
you may still be unprecision-filled
because the graphic hatch will not
appear in the final illustration; now you
just create a more detailed sketch that
will serve as a model for the final
version of your work.

Lower the opacity of the

layer on which the sketch is
located to create a new
sketch on top of it

10
Use the Swift Shape option to draw a
perfect circle for the clock - to do this,
proceed in the same way as for drawing
straight lines earlier (see page 36). Then
take some time to thoroughly draw the
sketch: it will serve as a map for the final
illustration. It is much easier to fix
mistakes now than later, when your
image will be on many layers at the
same time.

"Fast figure" allows you to

easily draw
perfect geometric shapes

79
nine
PROJECTS

FROM
FROMOVET

ARTIST
The base color is extremely important
eleven as it sets the mood for your drawing.
In traditional painting, artists created
Color underpainting is a good way to
underpainting so that if certain areas
experiment with the overall mood
were missing, the color protruding
and atmosphere of an illustration
from the image would not be pure
before moving on to the final color
white. Magenta underpainting can
choices. Create a new layer for the
add a hazy, mysterious hue to
first underpainting. Set the sketch
illustrations, while golden yellows can
layer to Multiply Blending Mode and
make the atmosphere softer and
make it more transparent. Then fill
warmer. Think about a base color
the underlayer with the base color -
to do this, select the desired color,
before starting work.
and then drag the color swatch from
the upper right corner onto the
canvas (make sure you are actually on
the underlayer first).

Create exactly
flooded layer

80
 Illustration

12
Paint over the underpainting with color.
For now, you don't have to worry about
layers. Make wide, loose strokes, which
you can get with brushes from the
Artistic> Acrylic set. Try sketching a few
underpainting options, creating a
separate layer for each. Experiment
with different times of day and weather
by comparing images from the Internet.
Understanding the peculiarities of light
and color depends entirely on your
observations of the world around you,
so take pictures of sources of inspiration
more often. Choose the best of the
resulting underpainting and remove
unnecessary ones.

Paint with wide, loose strokes of color to

create a sense of mood and atmosphere

81
one
eight
PROJECTS

13
Reduce the number of layers by first
making sure to keep the Final Sketch
and Underpainting. Keep the
Underpainting layer above all other
layers in your final illustration so that
you can turn it on and off when you
need to take color swatches from
there. As you work, create new layers
for anything you might want to edit
separately. Start with the background
layer and paint the sky and water on
it. Use the Eyedropper (see page 39)
to select colors from your
underpainting. Set the background
colors by choosing Paints> Flat Brush.
For painting clouds, use Aerosols>
Blot to create a soft, grainy finish.

For various effects

use different brushes

fourteen
Toggle the sketch layer on and off as
you work to make sure that the final
artwork looks fine in the absence of a
sketch. Brushes like Acrylic have a low
opacity, which allows you to blend
colors in layers. To blend two colors,
drag the brush so that the strokes
overlap. Then select the color at the
intersection and paint over the Mix
overlaid area with it. Continue colors as
choosing the color of the intersection background elaboration

and painting over the blending line

until the colors merge into a smooth
gradient. Blur the horizon line
between the sea and sky in this way
to give the image a hazy feel.
Remember to rename layers as you
work.

82
 Illustration

fifteen
Create a new layer for the island's
surface and use Ink> Dry Ink to set the
shape. Next, apply an "alpha block" to
the layer. Now, applying with a brush
strokes, you will not go beyond the
limits of the shape you created. Draw
the grass on the island using the
Organic> Reed brush set. Use the 6B
pencil to draw the details. Experiment
with different brushes to achieve the
desired effect.

Fix the shape of the island

and draw details in it

sixteen
Create a new layer for the bookstore
and fix its shape - again with the Dry Ink
brush. This time, lock only the path, and
then drag the color swatch from the
upper right corner of the screen into the
outlined shape to fill it. Apply an "alpha
block" to lock the pixels, and then move
on to a detailed drawing of the building.
Create new layers to work on elements
such as roof edges and windows. Use a
clipping mask to make sure that the
details on the new layers are exactly
above the bookstore image on another
layer and match the established shape
of the building.

Set the shape of the bookstore

store and apply
clipping mask to add
details

83
3
eight
PROJECTS

17 on the foreground color, a few

Add detail and color dispersion
Add some illusion and highlight areas strokes with other bright colors, and
to your image to make it more
by first determining where the light then blend the resulting strokes with interesting
source is so that the direction of all the Feather tool, choosing Paint> Old
shadows is the same. Use the Dry Ink Brush.
brush to paint sharp lines, and use
something softer like Organic>
Bamboo for feathering. Draw the
bricks and tiles in a free and casual
manner using the 6B pencil. Add color
dispersion so that color areas such as
a store's wooden façade do not
appear flat. To do this, lower the
brush opacity and do

A SOURCE
SVETA

eighteen

Add details such as books to the

illustration. To do this, create a new
layer and draw simple multi-colored
rectangles in it, lined up in rows and
stacked. Since they are very small,
you do not need to be overly careful.
Set the layer's blend mode to Screen>
Screen to create the effect that the
books are behind a glass window.
Combine into one group all the layers
on which the building is depicted and
name this group “Building”. Create a
new layer above the “Building” group
and draw with a 6B pencil the grass
where the building touches the
ground to connect it to the
surrounding background.

Add details to the image such as

books in the windows
and the grass on the surface of the island

84
 Illustration

nineteen

Now let's draw the path and the rest

of the vegetation. Create a new layer
for the trees and paint their trunks
with the Dry Ink brush to fix the
selected shapes again. Apply an
"alpha block" to all the pixels inside
and, using lighter colors, select the
Industrial> Wasteland brush to add
texture to the trunks. Create a New
Layer for the branches and use the
Organic> Sable option to show the
abstract outlines of the foliage. The
second layer of branches is needed to
paint the foliage behind the house.
Move this layer under the "Building"
layer group. Add details to the
drawing of the leaves with the 6B
pencil.

FROM
FROMOVET

ARTIST
When working on a canvas, think
about what the darkest and
lightest areas of your image should
be (what you think of as black and
white). In the real world, it is rare
to find pure black or white. Don't
make white the lightest shade of
the canvas, instead choose a pale
yellow to give the work a warm
shade, or, conversely, pale blue to
bring in a cool shade. The same is
true for the darkest area of your
image. This approach

will add depth illustrations.

Draw your
illustration and add
details in it

85
five
eight
PROJECTS

twenty
Draw a clock. If the shop windows do
not seem to have enough contrast,
make them darker. To do this, apply an
"alpha block" to them, and then paint
over the entire layer with a high opacity
black color. Fix the rock shapes using
the Dry Ink brush. Then apply an “alpha
block” to them and add a different color
texture to the rocks using the
Industrial> Stone Wall brush. Draw the
hills on the horizon, then take the
Aerosols> Medium Nozzle brush, pick
the same color as the background, and
paint over the base of each hill to give
the impression of the hills in fog.

Add more details: clocks,

rocks and hills on the horizon

21
On a new layer, paint with a 6B pencil of
pale blue some ripples and splashes on
the water. Tilt the tip of the stylus at
different angles to create narrow and
wide strokes. Using the same 6B pencil,
add light yellow highlights around the
edges of trees and buildings, and draw
in the missing shadows. Regularly
review the thumbnail canvas to make
sure the image is legible, even this way.

Add highlights, shadows and ripples

86
 Illustration

22
Merge into one all the layers in which
the island is drawn, because by this time
you will most likely have already
reached the maximum number of layers
in one file. Duplicate the Island layer,
and then click Transform> Flip Vertical.
Name the new resulting layer
"Reflection". Move the “Reflection” layer
under the first “Island” layer and place it
so that it is a reflection in the water.
Reduce the opacity of the "Reflection"
layer, and then use a brush to fix areas
of the picture that need it by eye; Use
the eraser to remove all unnecessary
reflections. Use the Selection and
Transform tools to move the individual
areas to the correct location on the
canvas. Create a new layer on top of
everything and add fog to it using the
brushes from the "Aerosols" set,

Create a reflection in the water by

merging the layers into one and
flipping the original image

23
Create a new layer and set the blending
mode to Overlay. Then take a pale
yellow brush from the Aerosols set and
depict the light coming from the source
located on the left outside of the screen.
Adjust the opacity of the layer to make
the drawing look natural. Add another
layer in Blend mode and paint even
more light, concentrating on the areas
that should be highlighted more than
others.

Add warm colors

and light

87
7
eight
PROJECTS

24
If you are satisfied with the resulting
illustration, merge all the layers into
one (just in case, duplicate all the
images in the gallery by choosing
Select> Duplicate Selection). Then
duplicate the flat illustration, select
the Settings> Color Balance tool for it.
Experiment with the Highlight,
Halftone and Shadow settings to get
the desired result. Add more red and
yellow to the highlight to make the
image warmer. When finished, export
the image to share (see page 18).

Adjust the end

shades of colors in the
"Color balance" tab
before saving

D
DOVERALL ILLUSTRATION
In the resulting work, we see a learn more about him. Small details tions - for this you need to change the
beautiful and mysterious bookstore like a bird make the drawing more time of day, weather conditions or
located on a rocky island and lifelike. You can apply the techniques color palette. You can also include
shrouded in fog. Maybe it's we covered in this project to create characters in the image to tell the
abandoned? Nobody knows this ... The different moods within the viewer an even more detailed story.
image invites you illustration.

88
lliu tration @ zzi erthenn
Below: Redhead

90 All illustrations @ Izzy Burton

Below: On the coast

91
nine
one
CREATURE
CHARACTERS
Evelyn Stockhart

In this lesson we will learn how to

create a human image against a
neutral background. Our heroine is a
young woman who walks the streets
of Paris. We will consider how you can
express her individuality in a portrait:
gracefulness, joy, a touch of slight
shyness, and also try to create an
atmosphere that reflects her mood.
The illustration will turn out to be
very French, with a vintage tint, as if
a fleeting moment of a walk on a
sunny day froze it.

This tutorial will show you step-by-

step how to create an interesting, eye-
catching look - from the initial
sketches to the final illustration. You
will learn how to use tools such as
Clipping Mask and Alpha Block when
working with colors, learn more
about layer blending modes, and
explore different effects to create a
friendly and joyful atmosphere in the
picture.

YOU
IN
SHHBUT
HAND
ANDT
TE B::
BUTHave
HaveH EFROM
FROMB

Organize layers neatly for efficient

work.

Use clipping masks and alpha

PAGE 208 block for color painting.

Apply layer blending modes to

create light and shadow effects.

Add depth to the image to focus

attention on the subject.

Add simple yet vibrant effects to

enhance the final look of your work.

92
 Character Creation

01
First, create a new file in the Procreate
Gallery. You can choose a default size
such as A4 (2.480 x 3.508 pixels, 300
pixels per inch - dpi), or click the Create
Size button. The resolution you set will
affect the maximum number of layers in
the file. So if you want to set your own
canvas size, keep in mind the number of
pixels per inch. However, if you need a
quality file for printing, do not set the
dpi below 300.

Create a new canvas

02
On a new canvas, paint some sketches brush size and opacity by 35%. These
of your character using the Ink> Ink options ensure the light, thin strokes
Bleed brush. This brush has a great you need to sketch out so you don't get
brush texture, but you can also lost in a bunch of bright, thick lines.
experiment with other brushes to find Begin to build a drawing with thin
the one you like best. Using the sliders strokes, and then gradually outline the
on the left side control panel, set the correct contours brighter. Five options for the image of the
indicators heroine to estimate different moods
and facial expressions in her portrait

93
nine
3
PROJECTS

03
Select the best of the resulting sketch
and use the "Selection" to transfer it to a
new layer. To do this, go to Select>
Freehand, circle the sketch with your
stylus, then click on the gray dot to
complete the selection. When the
selection is active, choose Copy and
Paste to transfer the selection to a new
layer, which you can headline Character
Sketch. The Transform tool will turn on
automatically, allowing you to rotate
and resize the selection. Use the Magnet
function (see page 57) to maintain the
correct proportions of the sketch.

The figure on the selected

sketch as if invites the viewer
right into the picture.

04
Give a name to each new layer so that it
will be easier to navigate later. Put
things in order in the layers and hide
those that you do not need at this stage.
To do this, uncheck them in the Layers
pop-up window. Leave the Character
Sketch layer visible and set its Blending
Mode to Multiply. In this mode, the lines
will gain transparency, and when
overlaid with another color, the layer
will appear darker.

Layer blending mode

at "Character Sketch"
set to "Multiply"

94
 Character Creation

05
Create a new layer, name it “Skin” and
place it under the “Character Sketch” layer.
Try using the Calligraphy> Chalk brush to
test different colors. This brush has a very
nice texture and is easy to paint with wide
color strokes. Pick a color and start
painting the underpainting. Don't worry
about accuracy at this point, because this
is just an experiment right now. Create
each element on a separate layer - this way
it will be more convenient for you to
change one color without affecting all the
others. After making your first successful
underpainting, merge all the layers into a
group and name it "Color 1".

Create a new layer for each

item: skin, hair, clothes and
accessories

FROM
FROMOVET

ARTIST
Whenever you need a mood board for
inspiration, use the Split Screen feature so
you don't have to constantly switch from
one screen to another. Open Procreate and
swipe up from the middle of the bottom
edge of the screen to bring up the dock. If
your mood board is in the Pinterest app,
hold it with your finger and drag it to the
right or left edge of the screen. This way,
you can easily navigate through the sample
images from the mood board, methodically
and seamlessly studying the existing
images as you work in Procreate.

95
nine
five
PROJECTS

06
To experiment, duplicate the Color 1 recolor the layers included in it. The Alpha
layer group and head the new group Block allows you to paint with a new color
Color 2, then place Color 1 below it. right inside the path without going over its
Repeat this step 5 times to create 6 edges. You can also change the colors by
groups to experiment with. When playing around with the hue, saturation,
finished, click on a color group to and brightness settings.
open and re-

When the "alpha block" is on, a

checkered border will appear behind
the active area on the layer preview

07
Choose the best underpainting from the
six created, duplicate its layer group
and merge the layers that make up this
duplicated group into one. This creates
a new layer that simultaneously
contains all the elements from the color
group. Now you have a general idea of
the character. The next step is to place
the heroine in a neutral environment.
Start working on landscapes in the same
file. Combine all layers related to your
character into one group and name it
“Character”. Then apply a mask to it to
create an empty space for the
background design.

The "Character" layer group must

include all color underpaints

96
 Character Creation

08
Test the background ideas in the
same way as the heroine portrait Composition 1 layer 2 layer on top of 1

ideas. Start with a rough composition

to determine how big your character
should be in relation to the
surrounding space. Draw lines with a
slight perspective to give the
illustration dynamics. Study the
photographs of people walking down
the street to get a better idea of
what it should look like. On a new
layer, redraw the same sketch of the
landscape and work on it further.
Then duplicate the layer and reduce
its Opacity to 30%. Create another
layer on top of it and start painting
the background along the lines of the
sketch of the background below.
Sketch the general appearance of the background

09
When choosing a color for the background, the colors look together and whether the
refer to images in which you like a subtle selected gamut needs to be adjusted. Then
color scheme. As in the case with the add layers in those places where,
creation of the portrait of the heroine, set in your opinion, there should be areas Background and character underpainting
the blending mode in the landscape sketch of light and shadow. Use a light with a trial drawing of illuminated
layer to “Multiply” and apply it to the layer yellow to depict the areas highlighted areas and shadows
below. Then take the merged “Character by the rays of the sun, and on another
Underpainting” layer and place it above layer paint shadows with warm
the background underpainting layer, and purple. Set the blending mode of this
then resize the top layer (“Character layer to “Multiply” and decrease the
Underpainting”) to the desired size using opacity. Then merge the background
the Transform tool. This will help you underpainting layer with the
imagine how the selected character underpainting layer to get
the final color (“Final Color”).

97
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PROJECTS

10
To start working on the final illustration,
create a new A4 canvas, and then copy the
“Final Color” layer and the sketch layers to the
resulting file. To do this, select the layers that
you want to copy ("Sketch background",
"Sketch character", "Underpainting"), and
hold the tip of the stylus on one of the layers.
The selected layers will rise and follow the
movement of your stylus. While holding
them, click on the "Gallery" with your other
hand and create a new file. Opening it, lift the
stylus from the screen, and the layers will
automatically be
ported to canvas.

The selected layers will be grouped

when exported to another file

eleven 12
Use the Transform tool to distribute the Now you can clean up the resulting
selected sketches across the canvas. sketch. Hide the background and
Resize them and position the reduce the Opacity of the "Character
Background Sketch and Character Sketch" layer to 35%. Create a new layer
Sketch so that the heroine's eyes are in on top of the character sketch, select
the upper third of the composition. the Ink Bleed brush and start painting
Reduce the size of the "Final Color" layer on a new layer over the lines of the
and place it in the corner of the screen existing Character Sketch. Repeat this
as a thumbnail for reference when step as many times as necessary to
needed. Thus, you always have a palette complete the sketch in detail. When
under your hand, into which you can you're happy with the clean cut, hide or
lower the eyedropper to select the delete the Character Sketch layer. Set
desired color. the layer blending mode to "Multiply"
before you start painting.

Set the final copy placed above

the "Character Sketch", the
layer blending mode "Multiply"

FROM
FROMOVET

ARTIST
You can choose the same
texture for the eraser as for the
brush. To do this, click on the
eraser icon and hold it until it
jumps up a little and its icon
turns blue. This means that the
"Background sketch" and
"Character sketch" resized relative
instrument is activated.
to each other and "Final color" and can now make strokes with
reduced to a miniature the same texture as the brush
you are currently using.

98
 Character Creation

13
Hide the "Character Sketch" layer and
reduce the Opacity of the clean sketch
layer to 20%. Create a new layer, name it
“Solid” and place it below the finishing
layer. Make the background gray the
default. To do this, click on the
"Background color" layer contained in
the file by default and select a gray color
in the palette. This will make the colors
in your illustration stand out and you
will see them better. Red is the
preferred color for the outline of the
sketch: if you include selected colors
underneath, especially skin tones, the
image will be tonally warmer. Try not to
use black as this will create a messy
effect and make the whole drawing
heavier.

Fine work
on gray background

fourteen
Use the eyedropper to select a skin color
from the “Final Color” miniature. The
color swatch in the upper right corner of
the screen will automatically reflect the
selected hue. Use the Ink Bleed brush to
paint the heroine's silhouette in a color
that matches her skin color. When you
are finished drawing, make sure the
path is continuous. If it has holes in it,
when filled inside, the color will fill the
entire canvas. To fill, take a color swatch
from the upper right corner and drag it
inside the path. If you still have a thin
white stroke along the path, just repeat
the fill again.

Use an eyedropper
to select a color from the
"Final color" layer

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Create a new layer to color each

element. You can save time by using
a clipping mask so that you don't
have to repeat the fill twice each
time. To do this, click on the selected
layer (for example, on "Blouse") and
select "Clipping Mask". The layer is
automatically clipped to the bottom
layer, using it as a stencil. Now you
can paint over the blouse without
fear of going beyond its outline. Use
the eyedropper to select the red
color, then roughly trace the outline
of the blouse (it will not be visible due
to the stencil), but be careful when
drawing the waist area. With the path
closed, drag the color swatch from
the top-right corner of the screen All layers
into the resulting shape. with indicating
down arrow
clipped by layer
body

sixteen

Repeat the process described in the

previous paragraph for the skirt, hair,
hat, blush and everything else.
Choose a bright red for the blush and
use the Aerosols> Sweep brush with a
preset size of between 3% and 5%.
This will soften the expression on
your character's face and give her
skin a pleasant texture. Set the Blush
layer to Multiply blending mode. To
give transparency to the sleeve,
reduce the Opacity of the Sleeve layer
to 75%. Use the Paint> Wet Acrylic
brush to paint the play of light on the
hair. Adjust the brush size to 10%,
then create a new layer and choose a
very light yellow color to select
individual strands in the hair.

"Wet
"Swings" acrylic"

The layers, on which the

individual color elements are
located, make up the full color
image of the heroine

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 Character Creation

17
To draw the face, create a separate
group of layers. On a new layer draw
the shape of the eye section - so far
only with whites, then add a layer for
the irises on top of it and use a
clipping mask on it to clip them to the
shape of the whites. This will allow
the iris to be repositioned as needed.
On top of this, create new layers for
the eyelashes, eyebrows and mouth.
Collect all the layers that make up the
face into one group and name the
group "Face". Finally, on top of the
Character layer group, redraw all the
outlines in pink to add more detail to
each individual element and make
sure nothing disappears when you
hide the fine layer and set the
blending mode to Multiply.

Add outlines to outline the

neck, eyelids, nose, fingers,
auricle and the edges of the
purse.
eighteen

After finishing drawing the character, color". The Chalk brush works well for
repeat the same algorithm for painting the creating arrays of colors. You can paint the
background. First, combine all the layers entire background on one layer, but dividing
dedicated to the character into one group, the background into different elements will
and then hide it. Then create a new layer give you more freedom for later editing. When
under the “Character” group and start painting, do not worry about accuracy, as the
painting, using the eyedropper to select background in the clean version will be blurry
color swatches from the “Final and out of focus.

Use
different colors
for coloring
streets

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nineteen
To create a defocus effect, duplicate the
background layer (if you have multiple
background layers, create a group from
them, duplicate it, and then merge the
duplicated group into one layer), then
use the Settings> Blur tool according to
Gaussian ". Set the blur value to 17% to
give the image depth.

Adjust the strength of the blur

Gaussian by swiping from left to
right

twenty
To give the illustration a light, make the
“Character” layer group visible and
create a new layer on top of it. Set the
Blending Mode of the layers to Multiply
and paint the shadows with a warm
shade of purple. Never use black, it will
make the colors dirty. Select the Ink
Bleed brush for the Feather tool, adjust
the size to 80-100%, and set the Opacity
to 10-20%. Now use this tool to soften
the outlines of the shadows, slightly
feathering their borders.

"Character" layer group on

blurred street background

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 Character Creation

21
To add sunlight, create a new layer and,
choosing a light yellow color, mark with
it those areas where the glare of light
will fall on our heroine. Set the blending
mode to Overlay to emphasize the
contrast and saturation of colors. If you
want to add highlights to the image,
create another one above the light layer
and select certain areas with the same
light yellow tint. Now let's add some sky
light. This is a very soft light, but it will
add some coherence to our illustration.
In a new layer add some light blue
strokes to the top of the main
character's hat, nose and arm, and then
set the Blending Mode of the layers to
Screen and lower the Opacity to 55%.

Duplicate the "Character" layer

group, merge the resulting copy
into one layer, and then use
clipping masks to add light and
shadow to the image

22
To improve the overall atmosphere of
the illustration, duplicate the highlight
layer and set the blending mode to
Overlay. Apply Gaussian Blur at 20% to
create a subtle glow around the heroine.
You can add a few more details at this
stage as well. On a new layer, paint the
highlights in the eyes with white color
and set the Blending Mode to Add with
an Opacity of 13%. Draw individual hairs
with the same white color, depict
individual dust particles in the air with
scattered dots. Duplicate the Dust layer
and blur it a little to give the particles a
glowing effect.

Details close up

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23
Finally, add a warm tone to the entire
illustration by applying color
adjustments. For the settings to
affect the entire image, the entire
illusion must be on one merged layer.
To do this, open the copy and paste
menu and select “Copy All”>
“Paste” (if the “Paste” button is not
clickable, just repeat the same action "Composite" mode
again — after that it will become point along the curve, choosing will affect all colors in the
active). Now that the entire illustration
"Composite" mode to add contrast.
illustration is in one merged layer, Then increase the red value slightly
you can adjust the color curves. to warm up the tone of the image.
Lower the center

24
Duplicate the finished image layer for
final effects. Turn on Settings>
Perspective Blur to create a subtle
sense of movement. Move the cursor
to the middle of your heroine's face
and set the blur strength to 5%. This
will make the effect almost invisible,
but will add dynamics to the girl's
gaze. Apply Settings> Noise with a
rate of 13%. If you want a color fringe
effect like on old videotapes, set the
layer blending mode to Color and
move the image a few millimeters.
Finally, choose the Aerosols> Soft
Brush option, give it a large size and
paint a soft orange halo on a new
layer. Then set its Blending Mode to
Add and lower the Opacity to 30%. If
you are satisfied with the look of the
illustration,

Final image view

D
DOVERALL ILLUSTRATION
Now that you've completed this try to create several different
tutorial, try creating your own characters — all have strong
character, painting a background for personalities or strong emotions. Try
it, and setting the mood for the whole to think of a background for them
illustration. You have learned to that matches their personality. Ask
reflect in the drawing a warm, joyful, yourself what colors in the
friendly atmosphere that will attract illustration can convey the mood of
the audience and work to create the the character if he is scared, sad, or in
character's image. Next love.

104
Finished illustration @ Evelyn Stockart
Below: Autumn Girl

106 All illustrations @ Evelyn Stockart

Below: Rain

Above: Girl in the Library

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FANTASTIC
LANDSCAPE
Samuel Inkilainen

In this lesson, we will learn how to

create an illustration of a fantastic
desert landscape dotted with steep cliffs
and inhabited by huge jellyfish
peacefully floating in the air. We will go
through this project step by step from
start to finish and figure out how to
start small and simple and gradually
move on to large volumes and high
levels of complexity so that the task
does not seem impossible.

The lesson will begin by looking for

images to use as reference and by
making quick sketches to practice and
learn more about the content of the
illustration at the same time. Next, we'll
move on to creating a diagram for
organizing the workflow, which will help
us highlight the choice of color, creating
the composition and adjusting the
image parameters in different phases to
ensure the easiest possible flow of work.
After testing several color schemes and
drawing miniatures of the sketch, you
will go directly to painting, already
following the general guidelines of the
drawing and having underpainting in
front of your eyes.

This lesson will also show you how to

complement your painting practice
by creating your own personalized
brushes. You will learn how to correct
mistakes and adjust the image the
way you like. Finally, in post-
processing, you will learn several
techniques and adjustment
techniques that will allow your
illustration to reach new heights. YOU
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PAGE 208 Apply clipping masks. Activate the

"alpha block". Use layer blend mode.

Create your own personalized

brushes.

Use various "Settings" tools.

108
 Fantastic landscape

01
First, scour the Internet and try to find
pictures that will help you draw what
you want. This is the best way to get
creative. Don't just look for pictures with
the relief you need; try to find
information about the formation of
terrestrial masses that you would like to
depict in a fantastic landscape. Knowing
how the landscape you want naturally
forms in nature will help you add a
variety of details to your illustration and
make it realistic. When you first sketch,
try using the Mechanical Pencil or HB
Pencil brush to give your stroke the
effect of a hand-drawn line.

Get started by taking notes and

sketches from photos you find online

02
Now let's draw some miniatures. Start
by creating a base — a rectangular
canvas. Then add new layers to it for the
jellyfish, background, foreground and
middle ground. Experiment with reliefs Start to come up with the composition and

that resemble the patterns you want to structure of your illustration

depict. Add a clipping mask to each from creating small, simple

layer to keep all the elements within sketches
their path. Use an "alpha block" to add
small details within the larger original
shapes. Draw more small shapes and
increase the contrast to bring the image
into sharp focus.

Keep working on the sketches you like,

mixing separate elements to create new
versions. Try not to complicate your
work; do not get carried away with
excessive detail and close-up viewing of
the image, because at this stage you
only need one of the created sketches.

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Choose the sketch that you find most
interesting and that looks neat when
zoomed out. Then start testing
different color palettes. Duplicate the
sketch layer several times and apply
filters from Settings> Color Balance
and Hue, Saturation, Brightness to
add color to the sketch. If the filters
from the settings are not enough, do
not be afraid to recolor certain areas
of the sketch. For wide color
gradients use a soft brush: paint a
light glow around the jellyfish, and
then use a harder brush to paint in
the landscape details.

Apply the Color Balance and Hue, Saturation, Brightness

filters to experiment with different color schemes

04
Get started work out selected want to tell in this illustration, as well
you and a colored sketch. Divide large as figure out how best to do it. Add in
areas of color into small zones - to do this, the foreground the figure of the
paint over them on a new layer with a hard cloaked character and paint tiny
brush and remove excess parts from the highlights at the bottom of the
layer. Use the eyedropper to pick the canvas in the middle ground to hint
lightest color from the sky palette, and at small jellyfish rising from the
then use it to depict simple clouds. At this ground. This sketch will serve as a Start working on your chosen
colored sketch, adding details to
stage, it already makes sense to come up reference for the final version of your
it and complicating the
with the story that you illustration. composition

110
 Fantastic landscape

05
Create a new, larger canvas and add
the sketch layer from the first file to
it. Drag the layer with one finger and
point it to the file you just created
with the other and place the sketch
layer in the list of layers in the pop-up
window. To get a cleaner look for the
clean copy, start by drawing the
correct shapes using the existing
sketch as a reference (another way to
move on to work on the clean copy is
to clean up and refine the sketch
itself). Work with caution at this
stage, you no longer need those quick
and unexpected experiments that you
performed during the sketching stage.
Take the sketch as a reference, start
with a gradient in the sky.

06
Using a pointed brush like the
Rapidograph, create a contour base for
the foreground, middle and
background, as well as for the jellyfish,
drawing each element on a new layer. If
you leave all these layers without
merging, you can later not think about
the contours of the images on them:
this method will allow you to quickly
select the areas you need, apply an
“alpha block” to them and use them as a
stencil for a clipping mask.

Create crisp silhouettes of the main subjects

of the image with a pointed brush

07
Activate the "alpha block" to fill all
the objects that make up the drawing
with base colors. You can add
highlights and shadows later, so don't
make the colors too dark or too light
for now. Since the air in your
illustration contains dust particles
and water droplets that prevent the
landscape from being visible at a
great distance, make sure that the
farthest objects have the lowest
contrast and saturation values. This
effect is called atmospheric
perspective. Let the basic colors be
dark and subdued - then the bright
jellyfish glowing in the dark will
attract the viewer's attention in the
first place.
Separate different materials and objects from
each other with areas of different shades

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Create a new layer above the base path
layer and use Clipping Mask. Apply
layers of this mask to the image to add
facets to the rocks, to emphasize the
tops of the rocks in the foreground and
all areas where light falls. Apply a clipping mask to select
the main highlights

09
In order to harmoniously blend the faces of the picture is correct. Add some highlights
the rocks into the illustration and work out to your colors: to do this, select an
their shape in detail, apply an "alpha block" intermediate color between light and dark
clipping mask to the layer and use a soft tones with the eyedropper and increase
brush to create a gradient that decreases the saturation values. Lightly blend the
from the color of the setting sun to the color saturated color in the transition zone with
of the layer. located under the current one. a soft brush, but try not to make this effect
Set the direction of the sun's rays and do not too obvious.
forget about it, so that the light spreads

Use the "alpha block" to add a color gradient to the

highlighted areas of the landscape

112
 Fantastic landscape

10
If any of your chosen colors do not with Procreate blends and see what they
work, activate the Selection tool to select have to offer (the most useful blending
the area you want to edit. Then turn on modes are usually Multiply, Add, Color,
Settings> Hue, Saturation, Brightness Dodge, Blend, Ambient and "Color").
and change the color. In this case, it is Blend the fog on the background layer
useful to start with clear shapes and with a soft brush, add to the foreground
simple areas of the drawing, because the figure of the character, dressed in a
they can be easily and quickly red raincoat, sitting on a log, and also
distinguished. insert an oval into the illustration, which
will serve as the basis for the future fire.
Another way to adjust the colors is to
apply different layer blending modes.
Experiment with the mode

Use various filters from the

"Settings" to make the colors
harmonious and correct possible
mistakes

eleven
If you are dissatisfied with the shape of brush Elements> Flame and choose an
an object, use the "Plastic" option: it will intense dark orange. On a new layer,
allow you to correct minor errors use a soft brush to paint a warm glow
without redrawing the entire object. Use around the fire, and paint the same light
the Liquify> Push option to move in the middle ground where the rays of
selected areas of your image. Try using the setting sun should be visible. Select
different instruments and settings to a hard brush for the Eraser tool and
see what effects they create. Add a road paint shadows with it.
leading to the middle ground of the
composition in the illustration, and also Use Plastic to reshape
draw a bonfire by applying shapes,
with which you are unhappy

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Add dark crevices to the rock mass to
enhance the shadows. Adjust color
values and try not to use black.
Pinch together the extra layers into
one - this will speed up the workflow.
Draw small shrubs in the middle plan
to emphasize the overall scale of the
landscape. Keep these shrubs small,
label them with horizontal clusters of
dots that will decrease with distance
from the viewer.

In the middle, draw small shrubs and dark

crevices on the shady sides of the rocks.
13
Start painting the highlighted
surfaces. To do this, set the blending
mode of the layers to Overlay and use
a rich orange color to lighten and FROM
FROMTHE ARTIST'S OWN
warm up the illuminated areas of the
It's easy to stop noticing your own mistakes. Try mirroring
rocks. To determine the color of an your canvas for a fresh perspective. To do this, go to Actions>
object hitting a colored light (as in the Canvas> Flip Canvas Horizontally. Don't be discouraged if you
case of a fire from a fire), select the fail to create the correct color shapes the first time. Painting
color of the light source with an is a long creative process, and mistakes are inevitable. Take
eyedropper, and then apply the same your time and be sure to take short breaks so that your eyes
shade to the illuminated surface with have time to rest from the screen.
light strokes. Use a brush with an
Opacity tied to the pressure of the
stylus, such as a Soft Brush. If you
now select a color from the resulting
color scheme, you will get the same
shade of light that should be on the Draw the sides highlighted by
surface you selected. different light sources, such as
rocks near a campfire.

114
 Fantastic landscape

fourteen

To emphasize the scale and distance in give your shadows a cool, dark blue
the image, use the Soft Brush and blend tone and thus draw more attention to
some fog over the layers. This will the warm sunlight. Use the Feather
highlight the background and give the tool with a Hard Round Brush to
impression of an atmospheric make the fog more beautiful. The
perspective, thus increasing the sharp edge of the Round Brush
difference between the near, middle creates crisp outline edges that
and far shots, as well as making the provide a pleasing contrast to the
illustration clearer. You also have the natural soft edges of a Soft Brush
option to apply the Overlay or Multiply stroke.
layer blending modes to

Give the image

contrast
and atmosphere, depicting the
fog between the layers

fifteen

Take a brush with hard edges and

start painting the clouds, creating
unusual shapes that will suit your
illustration. Use the Feather tool to
blend the edges of the brush strokes,
thus creating feathered areas so that
the objects you draw will look more
like clouds. Keep in mind that clouds
are a key part of composition and
provide a great opportunity to invent
new graphic shapes. Few natural
elements can boast of such varied
and interesting shapes. A hard-edged
brush will allow you to better focus
on the outline and make the clouds as
interesting as possible.
Add clouds to the illustration with a hard-
edged brush, then soften the resulting paths
with Feather

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Calculate how the diffused sky light and "Gaussian Blur" with an exponent of
the directional light from the campfire 35%. Change the Blending Mode of the
will affect the surfaces of all the rocks in layers to Screen and lower the layer's
the foreground. Draw a small backpack Opacity to 60%. Duplicate the jellyfish
near the character and work out the layer again and this time apply a
rocks in front so that they intersect with Gaussian Blur at 50%, and change the
the tentacles of the jellyfish — this will opacity of the layer to 45%. Now drag
give the image three-dimensionality. In both new layers below the original layer.
order to create a glowing effect around
the jellyfish, duplicate the layer on which
it is depicted and apply to a new layer

Start adding more details,

including a warm glow
around the jellyfish

17
Next, draw foliage in the foreground.
This can be done by hand, but it makes
sense to save time and just start a new
brush for this purpose. To do this,
create a new canvas of 1000 by 1000
pixels. Select a rectangular area in the
Selection tool options, create one bush
leaf and paint over it with black.
Duplicate the leaf and use the
Transform tool to create a series of
more leaflets. Combine the resulting
layers with a pinch. Remove some of the
lower leaves with a soft eraser so that
the bush merges with the surrounding
surface. Save the image in JPEG format.

Create a simple bush to use

as a base for the foliage
brush shape

116
 Fantastic landscape

eighteen
Click on the "+" icon in the brush library element of chance. Skip the Grain tab as
and add a new one. Paste the Plain Seed this brush doesn't need texture. In the
option from the Pro Library into the Dynamics tab, set Wobble to 45% in the
Grain Source section. In the "Stroke" Dimension Dynamics section so that the
tab, set "Spacing" to 45% and "Wobble" brush has a less even stroke fill. Finally,
to 25%. In the "Shape" tab, adjust the in the Pencil tab, set the Size to 35% to
"Scatter" values to 10% - this will give control the size of the brush.
direction to the brush

Adjust various brush settings to

achieve the desired result

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Take the new foliage brush you just
created and point-click the rows of
bushes in the foreground. Start with the
layer farthest away, then pick a lighter
color and paint a second layer on top of
the first. Change the color again and
paint a third layer. This will create the
illusion of depth. Create a new layer
behind the vegetation shown and paint
some bushes with highlights to make it
look like the glow of the largest jellyfish
reaches the foliage and highlights the
bushes in the back. Add variety to the
foliage: to do this, take lighter shades
and paint dotted blotches of flowers
with them, depict the silhouette of a
dead tree and a few dry branches.

Create multiple layers of

foliage with a new brush

twenty
Continue adjusting colors and painting just duplicate the entire file in front of
details around important areas of the this to have it in layers in any case. Now
drawing. Use the Swipe Brush to paint a you can add a small jellyfish, applying all
small jellyfish emerging from the the same method of duplicating and
ground. At this point, you can already blurring the layer. Also, add highlights
stop using the individual layers and to objects in the foreground in front of
instead merge them into one to save the the little jellyfish, but don't overdo it.
time you spend switching between
them. If you like the idea of merging all
the layers together,

FROM
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XyUDCoolant
WH NO
IRCA
BEFORE BUT
The time for great changes has
passed. Now that you have a clear
base of the drawing and the
image looks holistic, the phase of
drawing details begins. Play the
music and dive into your work.
This is the slowest and perhaps
the least interesting part of the
process, but right now Merge the layers and enlarge the
it's important to take your time. image to paint the details
 Fantastic landscape

21
Use a soft brush to get the most out of Keep on drawing details and fixing bathrooms to further emphasize the
the layer blending modes. Use the Blend mistakes. Draw more small jellyfish, importance of certain objects. When you
mode to adjust the color settings, Use smoke over the fire, and cloud-like wads come to the conclusion that there is
Dodge Basics to add glow to the lights, of fog reflecting the light of the large nothing more to add, leave the
Multiply to darken the areas you want, jellyfish. Concentrate on the areas that illustration for a couple of days, and
and Use Diffuse to dim the color values. attract attention first, and leave less then return to it for final revision.
Continue important areas of the illustration less
detailed.

Use layer blending modes to adjust the colors and

contrast of the image

22
To add the final touches to the
illustration, merge the layers. Now use
the option "Settings"> "Sharpness" - this
way you can achieve clear contours (tip:
if you are working with a duplicated
layer, you can delete unnecessary parts
of the picture so that they remain
intact). Add grain to the image: for this,
create a new layer and set its grain to
medium. Apply the Noise filter at 100%
in the Overlay Blending Mode and set
the Opacity to about 20%. In the Hue,
Saturation, Lightness adjustments, set
the Saturation slider to 0 - this will
create a slight monochrome grain
effect. Export the image when finished,
and then share it (see page 18 for
details).

Add Noise filters

and "Sharpness" to give the
work a finished look

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120
 D
DOVERALL ILLUSTRATION
You have depicted a fantastic, with a more spontaneous approach to
mysterious landscape. A palette of work. Most of the time was spent trying
warm muted colors suits the theme to create an accurate sense of scale
chosen and creates an otherworldly within the illustration. This required
atmosphere. visual cues familiar to the viewer.
Without such comparisons, jellyfish
Starting with a sketch is guaranteed to floating in the air might appear to be
not get lost in your own ideas of what ordinary in size and simply located closer
might happen. to the point of view.

12
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Below: Mirage

Top: Spire
122 All illustrations @ Samuel Inkilainen
Above: Observation Tower
12
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FANTASTIC
BEING
Nicholas Cole

In this tutorial, we'll walk you

through the steps of how to draw a
fantastic creature in Procreate. As
you begin an assignment, build on the
context and objectives in your
primary research. For example, if you
need to come up with a fantasy
creature for a video game, you might
need to ask a few questions about the
content first. Where exactly will this
creature be involved? What is it
supposed to do? Are there any facts
that may affect his appearance?

First, make a list of your favorite

animals and think about which traits
will suit your monster. Creatures
living under water are an excellent
source of inspiration for creating an
alien image, since their body
structure and needs are as far from
life on the surface as possible. For
example, think about what kind of
creature you can get if you mix a sea
lion and a killer whale, add a little
axolotl to them and reward the
resulting image with the teeth of
prehistoric dunkleosteus?

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Refine and adjust the sketch taking into

account the movement.

Paint with texture brushes and tilt.

PAGE 208
Organize the layer order
strategically for an impressive
finished drawing.

Use layer masks to create a fluid,

adjustable design.

Depict complex shadows with

transitions in tone values for an effect
of volume.

124
 Fantastic creature

01
Start by drawing rough sketches. If you
go into too much detail at this stage or
start correcting the drawing early, work
on it can be delayed and difficult to
progress. Select Tara's Oval Sketch NK
brush and set it to a medium size to
avoid the temptation to focus on the
little things. (For information on how to
download the Tara's Oval Sketch NK
brush, see page 208.) Look for the
shapes you like and be inspired by
nature. Think about what physical
characteristics of animals seem to you
the most interesting, or, on the
contrary, are less often used when
constructing images of fantastic
characters. Consider if you can use
these characteristics in your sketches in
one way or another.

Create a collection
rough sketches - it can take a
few tries to find the perfect look

02
If you find that some part of the sketch
turned out to be especially successful (in
the first paragraph, this part turned out to
be the head), simply duplicate the layer
and on each new copy add other details to
the resulting area, changing the subject's
pose or the composition of the canvas.

Concentrate on Research
your capabilities - after all, you can
endow fantastic creatures with the most
unexpected anatomy, if everything that
exists seems too ordinary to you. Strive
to operate in a sketch with clear, simple
forms and do not burden the drawing
with unnecessary details. Outlined with
a few strokes, schematic images are
more easily perceived by the viewer.
And you can use that clarity to draw
attention to those characteristics of the
being that seem most important to you.

Find the right body and

posture for a successful
head drawing

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PROJECTS

03
When you start sketching, it makes
sense to draw them quickly so as not
to lose the rhythm and not get busy
drawing details instead of trying
other ideas. Use the Liquify tool — it's
a great way to speed up your
sketching stage. If the drawing is too
approximate or crooked, or if you
want to draw a perfect but complex
line without redrawing it a hundred
times, use the "Settings" option

> "Plastic". There are tons of

adjustment options in this section
that you can experiment with. The
Push command allows you to stretch
and stretch the sketch to shape it in
different shapes before settling on a
specific look.

A prime example of how the Push command in the

Liquids section can modify your sketch

04
Work on the sketch to achieve
expressive shapes and poses, and
then lower the layer's opacity so that
it is visible, but not striking. Next,
create a new layer on top of the
existing one and draw on it a clean
version of the image, working out the
lines from the draft located below. At
this stage, you can already start
drawing the image and pay attention
to details such as claws and folds of
skin.

A fine sketch, under which the draft

appears. The legs and tail have been
redesigned to bring the focus to the
head.

126
 Fantastic creature

05
Flip the canvas before moving on to
color. This will allow you to look at the
work from a new angle and notice the
shortcomings before you spend all your
energy on painting and construction. To
do this, choose Actions> Canvas
> Flip Canvas Horizontally. Ta-
As a result, asymmetries in the eyes
or incorrect perspective can often be
found when depicting limbs, and
while this is an uncomfortable
moment in the work, it is better to
make it a rule to turn the canvas over
from time to time to check yourself.
Then you can correct mistakes by
redrawing or applying Liquify to
transform the desired area of the
image. When finished, return the
canvas to its original position.

The horizontal reflection of the canvas

showed that the gills and mouth were
slightly disproportionate - they had to
be corrected

06
Now you can start painting the image
from a clean sketch. To do this, set
the blending mode of the layers to
Multiply to make the top layer
transparent, and then adjust the
opacity. Create a new layer under the
sketch lines - it will become the base
for the painting. Choose a strong
halftone color to get started.

Start to solidify the color using the Max

Shader Pastel Brush - it will quickly paint
over the surface

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PROJECTS

07
On this new blank layer, carefully paint
over the silhouette of the creature with
a halftone color. First use the Max
Shader Pastel - it's wide and can quickly
paint over large areas (see page 208 for
how to download the Max Shader
Pastel). Then switch back to the Tara's
Oval Sketch NK brush to make sure all
the edges of the drawing are straight
and clean. This can take quite a long
time, so be patient - if you can do this
work neatly, it will be much easier for
you in the future.

Create a crisp silhouette or experiment

with more amorphous textured shapes
for a more relaxed style

08
The finished silhouette can now be used
as a mask to help keep each new color
you add in the correct area. Use the pale
shade of the creature's belly as the base
color. To do this, select Settings> Hue,
Saturation, Brightness and adjust the
parameters in this tab so that the base
color matches the average skin tone of
the animal. Then apply a mask to add a
darker color to his back on a separate
layer.

The ability to adjust color as you

go is one of the best benefits of
working with mask layers, as you
can change everything on the fly.

09
Open the layers menu and click the
"Selection" option. Faint diagonal lines
will appear around the silhouette - they
will show the shape of the selection on
the base layer. Keeping the selection
active, create a new layer, click on it to
bring up the menu, and select the
"Mask" function.

If you haven't worked with masks

before, it's a good idea to experiment.
before starting a big project

128
 Fantastic creature

10
A black and white mask will appear
above the new layer in the drop-down
menu of layers, on it the silhouette of
the creature will be highlighted in white,
and everything around it will turn out to
be black. Duplicate the new layer with
the mask applied to it several times.
These will be layers of color. The
function of masks is to keep each color
within a given contour of the image, as
well as to ensure that every detail can
be edited if necessary - for this, each
element is located on separate layers
that can be adjusted (such masks can be
given independent titles).

COINE
FROM
ET
T
ABOUTIN

ARTIST
Think categories masks
and layers of habit can be
tough. Be patient. If you take
the time to learn the basics,
masks are a powerful and truly
versatile tool for you. The
flexibility of their work can be Make four to five copies of an
extremely useful if your client empty layer with the mask applied
unexpectedly changes his point to it to fill them with color later, and
of view and wants to repaint keep one original layer so you can
something from duplicate it again if necessary.

red to blue.

eleven
Use a Soft Brush to first paint over the
layer with the mask applied to it. Make
sure you don't select the mask layer
itself. Choose a red color to paint the
back of the fantasy creature, and note
that it never extends beyond the clear
silhouette. It is the mask that allows you
to safely draw within the established
outline limits. Use the Hue, Saturation,
Luminance sliders to increase the
saturation and brightness of the reds to
create a charcoal hue. Note that the
base color of the creature's belly does
not change at all and only areas of red
darken.

The color red in this case is

randomly chosen - his example just
illustrates well how colors can be
adjusted after they have been
applied to the canvas.

12
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PROJECTS

12
Using the same technique, select a
new layer from the row of layers to
which the mask was applied and
which you duplicated in step 10.
Usually, the regional color can be split
into separate layers like these. Local
color is a technical term that refers to
the true color of an object without
reflections of light and shadows that
change its appearance in the image.
Your hair is not the same local color
as your skin, and the shirt, in turn, is
different from the hair — which is
why you have to put each of these
elements on a separate layer. This
system of dividing the picture into
layers will be useful if you later want
to adjust certain colors without
making changes to the shades of
other objects. Choose a light gray
color and color the creature's back
with a killer whale-inspired look.
Place this painting on a layer,

The more textures and ornaments

you use, the more interesting it is
13 then to observe what effect the
superposition of light and shadow
Continuing in the same vein, paint on new Use Tara's Oval Sketch NK layers with a
has on the image
layers with the nimmsk applied to the mask and brush to paint the eyes, fins
eyes, hair, nails, layers of clothing, and running down the back to the tail, and the
anything else that makes up the colored turquoise-glowing mouth of the creature.
image of the creature. At this stage, use

The contours of your

sketches will set shapes
for areas of color
and further drawing, so the
more accurate the sketch,
the better the result

130
 Fantastic creature

fourteen

Each layer of local color can be simple

and solid at first, but some areas
require additional color complexity.
To create a glow or gradient within a
shape, apply an "alpha block" to the
pixels of that layer. The thumbnail
preview will show that the layer is
filled with checkered hatching. This
means that the pixels are locked, and
whatever you paint on the layer from
now on will only appear on the pixels
that were painted earlier.

Notice the checkered pattern on

the layer in miniature
preview — always check if
pixels are locked

fifteen

Now that the pixels are locked, pick a

new color from the menu and set the
Soft Brush to a small size to start
painting. Brush strokes of a bright
turquoise color into the creature's
mouth to emphasize that the glow
comes from deep within its body. Given
that you have applied the "alpha block",
the bright turquoise will not fall outside
the mouth of the animal.

Use an "alpha block" to depict

a glow or gradient within a
filled shape

13
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PROJECTS

sixteen
Setting all the local colors, adjusting
them, and adding tints can be quite time
consuming, so find an interesting
podcast or audiobook to listen to while
you paint, if you don't mind a little
distraction. Doing your work neatly and
thoughtfully is very important - you will
quickly find that the rest of the creative
process goes much better if the local
base colors are well-chosen from the
outset. Remember to turn off the clean
sketch layer regularly to check if the
drawing is legible without contour lines.

At this stage of the work, all the shapes and

colors should be percussive: by themselves,
they do not yet tell the story to the end, but
the drawing will do the rest.

17
After you define all the local colors, you
can add highlights and shadows. This
should be done on top of the local
colors, but underneath the fine sketch
(which still serves as the basis for your
final illustration). Create a new layer and
set the layer blending mode to Multiply.
Scroll through the list of layers of the
base layer from which you started
painting with color, click on it once, then
select the "Selection" option, and then,
keeping the selection active, return to
the layer to which the "Multiplication" is
applied, click on it once and choose the
"Mask" command.

This layer with the mask will

become the layer on which the
main drawing will take place -
try to overlay
multiple shadows for
creating more complexity

132
 Fantastic creature

eighteen
This layer in the Multiply mode will act
as the main layer for the shadows in
your drawing. Since Multiply makes the
pixels of a layer transparent, anything
you paint on that layer will become semi-
transparent and blend with the local
colors below it. Pick a light blue color (or
experiment with different shades of
shadow) and start painting where the
shadows will connect. Do not forget
about the location of the light source in
the drawing, about the volumetric
forms, the anatomy of the creature, and
how bright or dim the light source is.

When depicting shadows, think

about how they should have edges -
clear or smooth. Smoothed means
rounded shapes,
and clear ones hint at tight folds.

nineteen
One of the main advantages of the
"layered" organization of the picture is
that shadows can be drawn without
constantly replacing areas of color
located on the lower layers. This means
you can add, blend and remove
shadows without any fear. Use the Max
Shader Pastel brush to paint over the
soft shadow areas with large texture
strokes, then use the Tara's Oval Sketch
NK brush to draw small folds and a
precise outline of the shape. Activate the
Feather tool, select the Max Shader
Pastel brush and gently soften the hard
shadows with it.

Create crisp edges to outline the

shape, but use soft color gradients
for rounded and voluminous areas.

13
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PROJECTS

twenty

As with local colors, paint the

shadows in one color first, focusing
on shape and volume, and then add
other colors and complicating details.
To add color to the shadows, paint
over the pixels on the layer, then
gently blend the shadow color in
certain places with a Soft Brush.
Gently blend red and gold in areas
where bright reddish light should
fade. Blend bright blues and teals in
areas where you want a cool glow.
Use dark blue and purple to show
folds and grooves.

This is a complete rendered shadow

layer with all local color layers and
base layer turned off. Notice the
change in hue and brightness.

FROM
FROMOVET

ARTIST
It takes practice to successfully work
on crisp, smooth edges. Tara's Oval
Sketch NK lets you draw a crisp line
when you touch the canvas with the
very tip of the stylus. Try tilting the
stylus to get a softer outline. Also use
the Max Shader Pastel and Soft Brush
for more variety in your style.

the boundaries of each shape.

134
 Fantastic creature

21
With this approach, shadows define
the shape of the light (as with most
watercolor techniques). Estimate
where to draw the shape you need to
highlight it or add glow effects. To do
this, create a new layer and set the
blending mode of the layers to
"Overlay". Next, select a Large Soft
Brush and use bright colors to paint a
little on a new layer on the glowing
area of the creature. Don't overdo it:
if you add too much backlighting, the
colors in the illustrations will appear
“overexposed”.

The picture shows the glow effect

from the mouth and the reflection on the
neck seems inconspicuous, but it adds
believability to the light

22
Finally, create a new layer and set the
blending mode of the layers to
Normal. Draw the necessary opaque
complements on top of your entire
illustration. Draw beams of light,
highlights and highlights. Add small
details to the anatomical structure of
the creature that were not previously
worked out. Depending on your
wishes and the time at your disposal,
drawing on top of the existing
illustration may take a long time. A
base of local color, light and shade
layers underneath the current layer
will ensure your success.

Small additions: highlights on the teeth,

pupil in the eye, highlights on the jaw

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PROJECTS

136
 23
The background can give an image
important context and help define the
scale. Less is more: Be careful with
contrast and lots of fine detail. If you
go too far with them, they will
distract from the general image of the
creature. The snowy tundra is perfect
for such a creation, because the sight
of our fantastic beast was inspired by
the images of animals living in cold
climates. Set the Brightness and
Contrast Stiphon values to a low
level so that the silhouette of the
creature stands out sharply. Blur on
the layers, increasing it as you move
away from the animal to create a
sense of depth. It will also help to
focus on the being. Shadows, soft
haze and snowflakes will help make
the drawing more lifelike, and the
result will be interesting, None will
begin to distract attention from the
main character, a fantastic creature.
When you are happy with the
resulting pattern, you can export it
(see page 18).

A suitable background is selected for

the creature - this adds believability to
the image, but does not distract
attention

D
DOVERALL ILLUSTRATION
Upon completion of this lesson, you will have a simple,
straightforward, layered blank with a fantasy creature
that you can modify as you please. As a result of working
on the assignment, you will also feel more confident when
applying masks and layer blending modes in Procreate.
Next time, try experimenting by making adjustments
directly to the individual masks, and see the nuances that
can be achieved this way. Try working with an expressive
texture base or overlaying multiple shadows on top of
each other. Using masks may seem daunting at first, but
once you figure them out, you will have a lot of room to
maneuver and learn how to create complex work.

zional level.

from waMe andlyuppaciI © Neither olbutfrom Coel

13
one
37
Below: Migration

Above: Igiba's Cottage

138 All illustrations @ Nicholas Cole
Above: Jack vs. Duncan - Jellybots
13 nine
one
3nine
TRADITIONAL
PAINTING
Max Streetney

Artists are often advised to prioritize

image construction and focus on
technique, but it is really just as
important to understand a
character's motivation and story. The
heroes of the illustration deserve to
have their own desires and
opportunities to lead an internal
monologue. This lesson will show you
how to portray a funny scene with a
touch of nostalgia: on a warm day
after school, the boy listens to his
older brother's records instead of
doing homework or cleaning up the
mess in the room. The drawing will
also capture important storytelling
details: for example, a boy's cat and a
poster with his idol.

In this tutorial, we'll go over the basic

brush techniques and also create a
new gouache brush. You will learn the
expressive painting style in Procreate,
which is needed to convey the
cheerful energy of the entire scene.
Combining a combination of analog
painting techniques and digital
variability, this style will create a
multifaceted, spiritually similar
image, as if drawn with traditional
means, but at the same time
endowed with the additional
capabilities of Procreate.
INS
IN
S Y ZH
HBUTE
BUT
ET
HaveZTEE,, TO TO:: TOBUT
BUTTO
In addition, this lesson will teach you
about complex perspective Create thumbnails for previews.
techniques that you can use in
Procreate to make your job of Adjust the color with the Curves,
framing your scene as easy as it ever Light Balance tools, and adjust the
was in digital painting. hue and saturation.

Construct a scene and draw

PAGE 208 perspective using drawing guides
and the Anchor Draw tool, and draw
geometric objects using the Quick
Shape command.

Create a personalized brush.

Do digital painting using the

techniques of analog painting.

140
 Traditional painting

01
This illustration is going to be so Canvas> Guides, and create a few labeling of thumbnail frames using
complex that we need thumbnails for frames in which to draw. Activate diagonals for proportional construction.
the preview, so start preparing them. To Guides and select Edit Guides. The 2D
correctly convey the proportions, use lattice settings are ideal. You can enable
the Quick Shape tool: use it to draw automatic drawing by clicking on the
straight lines from one corner to desired layer and selecting the "Draw
another so that an X appears on the with reference" option. Draw vertical
canvas (see page 36). Then go to and horizontal lines for
"Actions">

Apply the tool

"Quick Shape" to draw
constructions
for thumbnails preview

one
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PROJECTS

02
Take some time to come up with a
compelling composition and story for
your illustration to tell, then start
sketching with a 6B pencil on a new
layer below the thumbnails. As you
can see from the miniature in the
upper left corner, this drawing was
originally supposed to simply depict a
boy sitting quietly on the floor and
immersed in music. However, this
idea lacked emotion and plot. To start
developing the concept captured on
the very first thumbnail, duplicate the
layer and use the Transform tool to
make a new layer the same size as
the next thumbnail. If you depict the
boy playing an imaginary guitar to
the beat of the music, this will make
the composition more dynamic.
Hence the idea of drawing a cat
reaching for his fingers.

With each repetition, the concept of the

illustration develops, and the poses of
the characters are honed.

03
Now let's add some color highlights. To get
started, copy the last thumbnail sketch
into each version of the picture and merge
them on one canvas, plucking all the layers
with a pinch. Make the Background Color
layer gray by clicking on the thumbnail
and choosing a color.

On a new layer, start painting the

objects in the room with local color.
Then create another layer above it,
darken the room by painting the entire
canvas with a light blue and setting the
blending mode of the layers to Multiply.
In this case, nothing else needs to be
done, because the room immediately
darkens and there is a feeling of
twilight, but in most cases you can also
apply shadows more selectively, for
example, paint them under the object or
near all objects.

Additionally, at this stage, you can

apply a light color in order to draw it
daylight from the window and its
reflections on the character and on
the surfaces of various objects - it Create different layers that allow
makes sense to depict all these you to flexibly change the image
effects on separate layers. and adjust colors

142
 Traditional painting

04
To create a hazy feeling, fill the layer
with orange, add a mask by clicking on
the selected layer, and then click on
the thumbnail representing the mask
and invert it, making it black. Then
with the Grain Cloud brush paint with
white on the mask to reveal the
orange. Set the layer blending mode
for the orange layer to "Screen".

Now let's make it look like our

character's hand and face are outside
the haze. To do this, create a new layer
above the haze layer and put a clipping
mask on it. Now, whatever you do with
this layer will only affect the layers
that it clipped. Since the Blend Mode of
the Display layers makes black
transparent, you will need to paint
over the face and hand with black to
remove the haze effect on them. Or
you can paint over these areas directly
on the mask, but the first method will
give you more room to maneuver in
the future. Add the bright color that is
visible in the window on a separate
layer so that you can better adjust this
color regardless of the shade of the
haze.

All layers with haze are shown

separately from local color — notice
the guidelines and silhouettes of the
clipped layer

05
Combine all these layers into one
group. This will make it convenient
for you to duplicate an entire group
and experiment with the time of day
and color palette. Go to Settings>
Hue, Saturation, Lightness and adjust
the colors of the shadows and haze:
choose a color palette that would
create a mood of nostalgia and give
the impression of vintage. To do this,
create shadows that could fall into
the lens of a Polaroid or 8mm camera.
If the colors in your sketches seem a
little dull, as was the case with the
four thumbnails on the right, merge
the layers within these groups using
the Settings> Color Balance command
and adjust the colors until you are
satisfied. - the result, which yields to
you.
Possible color variations before selecting
the thumbnail in the lower right corner

one
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fourteen
four3
 FROM
FROMOVET
06
ARTIST Now let's think about the sketch. If you
can build the right perspective early on,
Reliable sources of inspiration are it will help build the character's
essential to any good story. Since character and ensure it's believable.
this illustration depicts 1980, it is Activate the command "Actions">
important that all objects and "Canvas"
clothing in the room are timed, > Edit Guides, and select
and especially the turntable. The lattice "Perspective". Zoom out into the
image and click once at the edge of the
human brain easily simplifies the
canvas at the horizon level. Click again
world, but does not remember
and set the second vanishing point
very well what a real second-hand further down the canvas. Now is a great
tape recorder of the 70s and 80s time to flip the canvas using Actions>
looked like. Make your art look Canvas> Flip Canvas Horizontally and
realistic so viewers can really feel it check if you missed any unfortunate
distortions in the builds.

with all my heart.

Set perspective from two points using

drawing guides

144
 Traditional painting

07
Start building your scene with
perspective on a new layer. To do this,
let the "Draw Assistant" control the
lines, reducing them to vanishing
vanishing points - this will prevent you
from using the ruler. Use the Quick
Shape to draw oval plates and columns.
The desired shape can be achieved by
drawing a circle and holding the stylus
on the canvas until the lines form the
correct shape (see p.
36). Still holding the stylus on the
canvas, touch the screen with your other
hand and transform the shape into a
perfect circle when needed.

A tape recorder drawn by Fast Figure

and then modified
according to the rules of perspective

08
In the case of columns and album
covers, it may be easier to draw them
flat at first, and then reshape the
resulting shape for perspective using
the Transform tool. By squeezing the
corners of the object, you can unfold it
as desired. Do the same with the
columns so that they are identical to
each other. Once you're done
manipulating the planks on the floor,
select the Freehand tool and swipe
down on the canvas with three fingers
to bring up the Copy and Paste menu. A
quick "Transform" will then move the
plate to the desired location.

Completed graphic
drawing

one
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PROJECTS

FROM
FROMOVET
09
Before you start painting, create a ARTIST
personalized brush for your
illustration. To create a new brush, Creature personalized
click + at the top of the Brush brushes are a vast topic. There
Libraries menu. This will open an is a lot you can do with just the
empty tab for a new brush, where you basic skills in this lesson, but
can set a "Shape Source" for the the best way to learn is to
brush tip and a "Grain Source" for the experiment yourself. In the
paper texture, or in our case, the process of creating one
stroke texture, which we'll talk about particular brush, you can
later. In each case, click on the From create countless other brushes
Pro Library option to take advantage in parallel. Try different
of the shapes and textures of the approaches, test ideas in
brushes already in Procreate. The practice and develop your
built-in options are great for creating ideas if they seem interesting
a variety of effects. You can also to you, even when they do not
choose Insert Photo or click Select at all reflect what you wanted
Shape to open the file browser and to get in the end. Swipe left on
upload your own personalized images. the brush to duplicate it and
play with the settings until you
get the desired effect.

Brush creation menu

allows you to edit the
"Form Source"
and "Source of Grain"

10
One of the most versatile settings is
Grain> Grain Behavior> Motion. At
100% Rotation, you can create a
pencil effect on grain paper. As you
move the slider to the left, the grain 100%
will smear more along the color line, turn
creating a viscous sticky texture,
which is needed in order to create a
fuzzy effect. In this menu, Size
determines the grain size of the
brush, while Zoom in works as
increasing the width of the stroke. If
fifty%
we set the Magnification values to
the minimum, we get the Cropped
option - this means that the grain
remains the same size, regardless of
the size of the brushstroke. This
setting is useful if you want a pencil
effect. If you set the maximum value 0%
of "Magnification", On the right side stamp
of the slider, the option "Follow Size"
will appear - it allows you to keep the
grain size attached to the size of the
brush, modifying them accordingly.
Between these two extremes, you can
Breakdown of Grain Behavior
move the slider to more accurately Effects and Brush Settings
adjust the "Gain" values of your
grain.

146
 Traditional painting

eleven

Now look at the Pencil> Apple Pencil

Force. Size controls how much more Default
or less pressing on the brush affects
the size of the stroke. This trait is
especially true for painting brushes
and fountain pens. The Opacity value
reflects how translucent the smear is
- as with aerosols, for example.
Blurring is a kind of contrasting
version of Opacity: at this point, The size
delicate pressure is ignored, leaving
only room for precise, textured
strokes. This mode is good for
creating a dry brush effect. For more
details, check out the settings menu Opacity
for the MaxU Gouache Thick brush
created specifically for this tutorial.

Blurring

Effects of pressing the brush with different

pressure and the settings menu of the
MaxU Gouache Thick brush

12
After you carefully traced the
drawing with a pencil-like brush, it
was time to relax a little and start
painting. A neat drawing sets the
stage for a more expressive painting
style. At the stage of painting, it is
easy to lose the accuracy of the
forms, if they have not been drawn
sufficiently well before. But if you've
created a solid drawing base and
mostly came up with a color palette
in underlining, you can start painting
intuitively. Import your color sketch
from another file using the Copy and
Paste command.

Graphic ready
picture
with imported
color miniature

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PROJECTS

13
Canvas tinting is a well-known practice
in traditional painting. Apply base
orange midtones to create a warm glow
from the start. This will allow you to
write freely and easily without feeling
the constant need to paint over a white
background. A well-chosen texture is
important if you want to let the canvas
show through under layers of paint.
Apply the tone with the MaxU Gouache
Bristle Gritty.

Toning in technique
traditional painting
and texture taken from
MaxU Gouache Bristle Gritty

fourteen
Freely blend a few halftones onto the
canvas, picking colors from the color
thumbnail using the Eyedropper. To
create bounced light from the window,
paint the area directly next to the
window with warmer tones, and apply
cooler tones to distant areas. At this
stage, slight negligence is permissible,
because details can be drawn later, as
the drawing develops.

Superimpose loose
and expressive
halftone strokes

148
 Traditional painting

fifteen
Interior details such as plate covers and
posters on the walls are very interesting
to draw. You can paint with opaque
colors taken from the sketch, but in the
case of the poster over the boy's head,
paint it unlit. Set the layer blending
mode to Multiply, because the poster is
hanging on the surface of a white wall,
where warm tones change to cold tones
as they move away from the window.

Add details:
eg,
poster that
pictured here
unlit;
applied to it
mode "Multiplication"

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sixteen

To create a hazy effect, use the same

method as for colored underpaints.
However, when the haze dissipates,
the base colors appear overly pastel
and flat. This is especially noticeable
on the paw pads of a cat. Rearrange
the layers so that there is a white
haze on the black layer with the blend
mode set to Screen. Then, apply a
clipping mask to the silhouettes of
the hand, face, wire and cat to free
them from the haze, using the
Multiply mode of the layers (this is
called holding the layers). Now the
orange light comes out from two
layers, which were clipped on top of
this stack. One layer stack is set to
Overlay to make the grays warmer,
and the top layer is set to Multiply to
touch up the entire image. The result
is easier to work with,

Comparisons between the old haze settings

and the newer, successful settings that gave
the picture a warm tone

150
 Traditional painting

17
The blinds and window frames are
located under a layer of haze, so
make the most of the warm tones of
light. Draw yellow light passing
through the blinds over the top of the
haze and allow yourself to work in a
more predictable setting, without
considering the artificial semi-
darkness of the room. Mix the warm
and cold tones of this layer a little to
indicate the sky and atmosphere
outside. This would not be possible if
you had a large orange layer on top.
To make the illustration look more
like a traditional painting, let the
drawing be imperfect, rather than
trying to draw perfectly straight lines.

The result of overlaying window

layers on top of haze layers

eighteen

You can use the concept of one-time

contrast. This means that you need to
place two different colors of the same
brightness next to each other. This
combination often endows the
composition with a special energy
and even a kind of vibration. When
the warm tones of the primed canvas
show through the cool tones of the
wall and carpet, it creates a visually
interesting effect. It is especially
noticeable in the bright yellow and
blue colors of the window. This
technique works well for hot light
sources, reflected rays, saturated skin
tones, and for creating transparency.
Doing all of the above is simple: use
the Eyedropper and select the
appropriate color, then go to the
Color Picker and adjust the hue,
saturation and brightness sliders so
that

Example of Simultaneous Contrast in

Windows — Please Note
on the color symbols in the upper right
corner of the color palette

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PROJECTS

nineteen
Details such as the poster on the wall
perfectly complement the story told by the
drawing. As long as the person on the
poster was just a musician with a funny
haircut and a stupid waistcoat, he did not
play a special role in our story. But when
we redrawn him in such a way that now he
plays the guitar and stands in the same
position as the boy in the room, one can
guess that the musician is the idol of our
hero and the boy listens to the very song
performed by the musician on the poster.
The fact that the guitarist has a muscular
figure and the boy looks skinny takes the
story further.

Use details
to tell a story with
them

twenty
It's easy to start drawing the headphone make sure you cannot paint outside of
cord with unnecessary detail, so stick an area that has already been painted
with the stylization genre. Create a mask over. The checkered background of the
and add some black in some areas, then thumbnail will indicate that it is locked.
paint in white loops. Divide the shadows Following this, paint a few brush strokes
inside the cord: for this use an "alpha on the cord layer, using warm and cool
block" to tones to repeat its spiral pattern.

Make a cord
from headphones
stylized detail

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 Traditional painting

21
When choosing colors to work with,
make sure you turn off the haze layer so
that your colors don't blend in with
orange if you paint underneath. The
more layers, the more difficult it is to
manage them, so at some point you
may need to merge the layers of the
drawing. By doing this, you will be able
to paint details on top of the painterly
image. This method saves space and at
the same time provides some room for
maneuver in the event of an error.

Merge the layers and then on top

start drawing the image
in all
details

22
When working on top of the merged
layers, be careful about drawing the 23
edges neatly. To do this, choose a color The last important element is the our character should be drawn in as
directly from the palette, and do not backlight. This is exactly what will grab much detail as possible, while his room
switch back and forth between layers. the viewer's attention in the first place. may be depicted in less detail and does
Start working on your face and hands. So keep all the darkest shadows and not need clear contrast adjustments.
Paint in the edges, but try not to enlarge lightest glow for the boy's face. The
the image too much or make the brush same goes for details: face and hands.
too small. Excessively clear and sharp
brushstrokes - this is an ironclad in favor
of the fact that this is an illustration
created on a computer. So if you want to
give a drawing a similarity to traditional
painting, try to keep the brush strokes
alive and expressive.

Illumination-
ka behind
is necessary
for construction
rationing
compositions
drawing—
it is she
will help
Concentrate detach
attention to drawing figure mal-
chica from background
faces

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PROJECTS

24
If you want to draw the viewer's
attention to the illustration, add a
twist to it. Cool tones can very well
set off a warm haze. First, paint soft
blue shadows in the corners on a new
layer and set its Blending Mode to
Overlay. To add a warmer hue to the
backlight, use the MaxU Gouache
Bristle Gritty on a new layer and set
this layer to Background Dodge, then
blend a warm orange hue, blending it
with the bright highlights. Finally,
add some grain. To do this, adjust the
fill of the layer to 50% grain, set the
blending mode to "Overlay" and go to
"Settings"> "Noise" to add roughness
to everything. Apply Gaussian Blur,
blend the noise a couple of pixels, and
then set the opacity of the layer to
25% to make it very unobtrusive.
When you conclude that the
illustration is ready, you can export it
(see page 18).

Zest, highlights, and a

layer of grain

D
DOVERALL ILLUSTRATION
We worked on an extremely complex ask yourself the question: "Why?" Think
piece, consisting of many elements, about how the character's image, color
but the center of our story is just a palette, light and various details can
story about a boy who got lost in one influence the concept of the drawing.
instant. Now you know how to use You have extremely powerful means of
the Prоcreate tools and techniques expression at your disposal. It is up to
for working with them, and you know you to choose what you want and make
what is equally important in thoughtful decisions.
illustrations always

154
e l llYufromtrac and @ butto Havelich Hey
Below: Centurion

156 All illustrations @ Max Street

Below: Pets

one 7
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SPACE
SHIP
Dominic Mayer

This step-by-step guide teaches you

how to use the Prоcreate brush set
and tools to create a dynamic
spaceship drawing. Novice users will
receive complete instructions for
creating science fiction illustrations,
while experienced artists will discover
interesting techniques and
techniques.

The lesson will show you how to prepare

the canvas for work and introduce you to
the basic settings. You will learn the
importance of the Symmetry tool and learn
how to use it to get started working on a
particular way. We'll take a look at the
importance of organizing your layers
correctly and learn how to apply different
blending modes. In addition to the
technical aspects of the work, you will also
receive advice on how to build the right
composition, how to get started on a
painting, and how to achieve a finished
illustration step by step.

Using a drawing of a small, agile

fighter jet swiftly slicing through the
golden sky against the rising sun, this
tutorial will show you how to create
epic lighting effects and add
dynamics and speed to your image.
We will learn a pictorial method to
apply in the background of the
illustration, and draw the ship itself in
a more graphic style to achieve the
necessary contrast and clarity. In
addition, in this tutorial we will only

YOU
IN
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use the default set of brushes in
Procreate to learn how to create a BUTHave
HaveH EFROM
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realistic and expressive image using
the simplest methods.
Build the right composition.

Organize layers neatly.

PAGE 208
Apply the Symmetry and Selection
tools.

Apply light and special effects.

Create a dynamic pattern depicting

movement and speed.

158
 Spaceship

01
Start by creating a new file. Select the
Create Size option and set the parameters:
4000 pixels wide, 2151 pixels high, 300 dpi
(pixels per inch) resolution and sRGB color
mode. As you experiment with the
dimensions of the canvases, you will notice
that the number of layers allowed in the
file changes depending on the size. The
larger the canvas, the fewer layers you can
use.

Ask
parameters
canvas

02
It is always a challenge to invent Pervona-
something new, so it is extremely moaning
important to collect a large library of designs
images, samples from which can be cosmic
used as sources of inspiration and role ical
models when working on image ship
construction. Examples include
drawings and photographs by other
artists and / or photographs you have
taken yourself. If you start collecting
such pictures on your device, it will help
you to compose the visual library in your
head, which is absolutely necessary
when working on a new illustration.
Carefully browse the image library to
find interesting prototypes for
spaceship designs.

Install "Symmetry"
03
The Symmetry tool can be extremely
helpful when creating your first
sketches. Choose Actions> Canvas and
activate the Guides. Next, choose Edit
Guides> Symmetry> Vertical> Done to
allow you to mirror each line from one
side of the canvas to the other. Use this
command to create the first sketches of
the ship. Then some layers will be
marked with the “Check” tag - this
means that the “Symmetry” settings are
activated on the marked layers. If you
want to turn them off, just click on the
layer in the layers dropdown menu and
select "Draw with reference". This tool is
useful for drawing human-made
elements - its random combinations will
allow you to create interesting shapes.

159159
PROJECTS

04
Another useful technique for creating
interesting designs is to draw small
black and white sketches. Using a
black brush with 100% opacity, start
working on the random shapes
without going into details. Use the
Eraser to edit unsuccessful options.
When you like any of the resulting
shapes, try to sketch it in more detail.
Strive to draw several sketches at
once - this will make it easier to
choose the best one.

Sketches
space
ship

05
When you have a number of different
options for creating the image of a
spaceship, think about how you will
implement them. For example, decide
whether to use portrait or landscape
page orientation. Landscape
orientation usually gives energy to
the edges of the canvas, while
portrait orientation usually shapes
vertical dynamics. Landscape
illustrations tend to have a cinematic
vibe and are great for large objects,
while portraits are great for elevation
or distant horizons.

Miniatures
for landscape
and portrait
orienting

160
 Spaceship

06
Pick the best miniatures and start
working on a more detailed sketch. Now
is the time to think about the design
details of your spaceship. In addition,
now you also need to come up with
what you want to portray in the
background and what accents should be
made in the image of the starship. In
our case, we chose thumbnail number
five in landscape orientation. A dynamic
composition like ours requires a slanted
horizon line to create the effect of
movement and speed. In this way, we
can destroy the peaceful harmony and
familiar atmosphere, which are
automatically set by the straight line of
the horizon. Draw a line from the lower
left corner to the upper right - this
should create a positive mood. Or, on
the contrary, you can position the Final sketch
horizon in a mirror image for more
drama.

07
After finishing the sketch, the next spaceship. If you choose the option Those new layer, then apply the "Fill
step is to create the main layers in "from point A to point B", then create Layer" command to it. This will paint
order to draw on them the individual a straight selection line between the the selected areas with the desired
elements that will make up your named points, and if you draw a line color. Repeat this step for all
drawing. Use the Selection tool to by hand, you will get a jagged natural background elements.
select the path selection line. Create-

Select the "Fill Layer" function to

paint over the selected area

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08
Now let's use the Quick Shape tool (see
page 36) to draw a perfect circle - it will
represent the sun. Select the "Paints"
option
> Round Brush and set the color to white
paints. Draw a closed outline of the
circle by hand and continue to hold the
stylus on the canvas until it forms a
perfect circle. To do this, click on the Edit Create a perfect circle with the Quick
Shape> Circle command and your Shape tool
jagged circle will turn into a perfect
circle. Fill the resulting shape with color
by dragging the swatch from the upper
right corner of the screen to the desired
area on the canvas.

Organizing layers
Drag a color swatch from the top
right of the screen onto a selected
area of the canvas to fill the circle

09
With all the layers set, you can start from
sky. Pick a soft brush and start
painting the drawing. Create another Go ahead and create a bright blue
new layer above each of the existing gradient at the bottom of the sky. Use
base layers, click on each of them, select the slider on the left to adjust the size of Use Clipping Mask to fill
the Clipping Mask option from the drop- the brush, and use the same brush the layers with base colors
down menu and apply it. Now, whatever when adding yellows and browns to the
you paint on these new layers, the landscape. Add a soft gradient to
image will only be visible on the layers represent the mountains, and then
below them. Get started paint the spaceship layer a dark gray.

162
 Spaceship

10
Make sure to enter the correct values plain black. Now change the Blending
everywhere. Value metrics are Mode of the layers and instead of
information about pixel brightness that Normal set Color> Saturation. The letter
ranges from white to gray to black. If an “N” on the layer in the menu will
object is in the background in the disappear and the abbreviation
distance, you need to make sure that “Sa” (“Saturation”) will appear. When this
the darkest areas of that element are layer is active, you can look at the
brighter than the same areas of the values on it. Such a layer can be hidden
object closer to the viewer. Subjects in during operation and made visible again.
the background are always brighter
than those in the foreground. To check
this point regularly, create a new layer
Create a separate layer
on top of everything else and fill it for checking values

FROM
FROMOVET

TO THE ARTIST
You now have a solid foundation to build your
illustration. The basic information is drawn on the
canvas, and you should already be able to see what
the final result will be. Always try to spend as much
time as necessary building such a foundation.
Sometimes, after long hours of designing and
drawing, it can be terribly upsetting to realize that
the error lies at the very core of your illustration.
tion and now you have to start all over again.

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Use layer blending modes to create a

sunshine effect. To do this, make a
new layer, select a round brush and
draw with it a blurred outline of an
orange triangle around the sun. The
long side of the triangle should be
aligned with the horizon line. Set the
Blending Mode to Hard Light with
40% Opacity. Then create a new layer.
Draw a fuzzy orange circle, slightly
larger than the sun you are drawing,
and set the Blending Mode to Add
with 50% Opacity. Combine the new
layers into one group. This will allow
you to turn the resulting effect on
and off as desired. Continue working
on the illustration with the sun light
off temporarily.

Create a layer of sunlight Add extra layers of sunlight

Brush off all layers Combine all layers

sunlight to the right to sunlight into one group
select them and rename it

164
 Spaceship

12
The next step is to add clouds in the
sky. Take the Wet Acrylic brush and
paint in dark blue and orange areas
on the background layer with the sky.
Then select the Smudge tool and use
the Oil Paint brush to blend the colors
with horizontal strokes. You can try
adding more colors and shading them
again. Do this until you are happy
with the result.

Add
patches of color

Mix the colors

using tool
"Feathering"

13
Now let's add details to the background
layer. Create a new layer on top of the
terrain base color layer and apply a
clipping mask to it. Using the Wet Acrylic
brush, add yellow and brown colors to the
ridges of the mountains facing the sun. To
do this, select the appropriate color with
the Eyedropper and create brush strokes in
the desired direction. After that, select the
color that precedes the selected one in the
palette, and draw the brush in the
Create a stroke
opposite direction directly over the first
then select
stroke - let the new stroke be slightly closest to him
oblique. This technique will create a color
pleasing painterly background effect,
which will consist of triangular brush
strokes that allow you to construct the
landscape.

Make
second smear
a little under
corner over
previous

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PROJECTS

fourteen
Select the Oil Paint brush and use the
same method as described above to add
more detail and color to your landscape.
Then paint the trees with the Skipidar
and Oriental brushes. Reduce the size of
the trees as they get closer to the
horizon to add a picture of depth. Paint
the darkened areas with blue tones - for
example, overlay the color on the areas
under the trees and on the surfaces of
the mountains not illuminated by the
sun.

Add various details to the landscape image

using the Oil Paint brush

Draw small trees Add more trees Draw blue shadows under the
trees and on the unsunlit sides
of the mountains
fifteen
Now let's draw a river. Use the Selection By selection
tool to draw a snake where the body of depict the shape of the river
water should be. Close the selection
path by connecting the start and end
points of the selection and create a new
layer. Fill it with bright yellow and apply
an "alpha block" to this layer. Now you
can only draw on those pixels that are
already painted on the current layer.
Apply gentle white or yellow color
gradients over the river.

Fill the selection,

made for the river

166
 Spaceship

sixteen
Now that we've almost finished working lus on the screen until the figure takes
on the background, it's time to start the shape of a perfect circle (see page
drawing the spaceship itself. Clipping 36). Draw the upper part of the ship's
the sketch layer on top of the base layer hull in the same way. Apply an “alpha
you created at the very beginning. Set block” to the hull layer and use the
the Opacity to 20% to show various “Round” brush to paint basic shadows
details. Then create a new layer and on the current layer (make the sunlight
with the help of the “Quick Shape” draw layer visible so you can better imagine
two round turbines on it - to do this, where the shadows will end up). Then
draw a circle by hand and hold down the use the Nikko Rull brush to paint other
Styles. details of the spaceship.

Draw neat lines with the Quick Add basic shadows with the Round Paint in vivid details
Shape tool Brush and surfaces with the Nikko Rull brush

17
Visually interesting details of the ship
can be emphasized with color. Create a
new layer and set the blending mode to
Multiply. Apply an expressive pattern to
the ship's hull in bright red. First sketch
out rough lines, and when you find a
suitable shape, draw them on the
finishing line. Following this, walk
through the general view of the
spacecraft again and connect the upper
part of its hull to the lower one. Then
apply a glimpse of light to the leading
edge of the starship's wings.

Add color to make your starship design

more visually interesting
final image

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eighteen

At this stage, it does not yet appear

that the object is moving. This needs
to be fixed. Create a white trail left by
the starship in the sky, which would
show where the spacecraft came from
and in which direction it is headed,
namely, directly towards the viewer.
Another useful effect is velocity
vector lines. You can enhance the
dynamics of what is happening in the
picture, depicting the flow of air
around a moving object. First,
rearrange the position of the layers.
Add an engine trail in the sky to show where the starship came from
Turn on the Sunlight Layers Group.
Then select all the layers, combine
them into a group, duplicate it and in
the resulting copy merge all the
layers together. You now have a flat
version of the illustration, and the
layered version has been saved down
the list just in case. Then, on a flat
drawing, use the Feather tool,
selecting the Oil Paint brush.
Carefully draw vector velocity lines to
indicate the direction of movement of
the starship. Use a soft brush to paint
Draw even more vector lines to show
other cosmic ships in the background.
the direction of travel of the spacecraft

nineteen

Now is the time to create some light

effects on the spacecraft hull. Make
a new layer and paint dry ki with a
bright blue color those surfaces of
the spaceship, which, in your
opinion, should glow. In this case,
we are talking about white traces
on the spacecraft, round turbos and
narrow streaks of light around the
edges of the wing. Set the blending
mode to the "Screen" layer to create
the effect of a vivid bluish shimmer.

FROM
FROMOVET

TO THE ARTIST
Don't be discouraged if you don't like
the result you get. Drawing and
painting are activities that require
constant practice. If your work falls
short of a genius masterpiece on the
first try, that's perfectly fine. Be
patient and start again - at some
stage, the fruits of your labors will
become worthy
reward for all efforts.

168
 Spaceship

twenty

Now let's fix the image and do a little

color correction. To affect the entire
illustration, you need to transfer all
parts to one layer. Select all layers
and layer groups to combine them
into one new group. Now duplicate it
and merge all layers in the resulting
copy. Then choose Settings> Color
Balance and use the sliders to balance
the red and violet tones in the image.

Apply Color Balance option

for color correction

21
Create a new layer and add the final
touches to your illustration, such as
smoke from the starship's turbines
and additional vector velocity lines.
When you are happy with the result,
select all the layers, merge them into
one group, duplicate it and merge the
layers in the resulting copy into one
flat image. Add a Sharpness effect to
the new merged layer by going to
Settings> Sharpness and setting the
Intensity to 80%.

Add the finishing touches to

your illustration

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22
Now that the work on the image is
complete, you can export the result
and share it with the world (see page
18).

170
 D
DOVERALL ILLUSTRATION
In this lesson, you received step by step, but don't let rules and take a chance and enjoy the
instructions on not only how to use advice overwhelm you. Experiment opportunity to try out all your artistic
the Procreate application, but also with the app yourself and you will ideas. Always try to work out the
how to work with digital painting. know where it takes you. Happy dynamics of the illustrations and the
You can take this lesson as a basis for accidents are a very important part of story they tell in as much detail as
working on future illustrations and the creative process, so don't be possible.
each time go through the above. afraid

Finished illustration @ Dominic Mayer

17
one
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 Below: Knight

172 All illustrations @ Dominic Mayer

Below: Land Speed Record

Above: Oracle
17
one
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PLENAIR
Simon Grunewald

Drawing in Procreate on iPad has

many advantages, and one of the
most notable is the fact that with it
you finally have the opportunity to do
digital painting anywhere. You can
take your device with you outdoors
and carry it everywhere, making
quick sketches of any scene that
grabs your attention. Putting your
iPad in your bag is much easier than
lugging around a bunch of art
supplies. Nevertheless, there are
some subtleties that must be taken
into account before sitting down for a
long open-air: for example, it is
necessary to choose the right place
for such an activity.

This tutorial will walk you through

step-by-step how to sketch out the
terrain and successfully convey the
play of light in your chosen landscape
using just one standard, slightly
modified Procreate brush.

You will learn how to create

expressive brush strokes to capture
the lighting in a scene correctly, and
how to use different layer blending
modes to make it easier for you to
work with Procreate. This tutorial will
also show you some techniques for
achieving vibrant, vibrant colors,
especially when you use different
shades of green.

YOU
IN
SHHBUT
HAND
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BUTHave
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Edit standard brushes.

ST
FROM
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R .. twenty
eight
Use layer blending modes.

Apply clipping masks. Activate

the "alpha block". Draw on masks.

174
 Spaceship

01
When working outdoors, it is important
to dress appropriately for the weather,
as it is likely that you will be outside for
many hours. For such cases, you can
simply carry a small foam mat with you.
A small folding chair is a more
convenient option, but it depends on
the type and point of view. When
choosing a place to paint, do not sit in
the middle of the road and make sure
that the direct rays of the sun do not fall
on the screen of your iPad, because of
them you will not see the image.

Small rug—
extremely useful thing
for plein air

02
The illustration in this tutorial was made
entirely with an edited, standard HB
Pencil brush found in the Brush Library:
Brushes
> Sketches. Initially, at "Pencil
HB ”is a very small range of sizes, but if
you select this brush from the menu and
press with one click, the brushes edit
menu will appear. Choose Properties
tab> Brush Behavior> Max Size and
move the Max Limit slider to 140%. If
you also want to keep the original HB
Pencil, duplicate it first.

Change the brush

"Pencil HB" to
achieve round
smears with excellent
texture

17
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PROJECTS

03
Examine your chosen vantage point and
choose the best view from it. You can
draw a frame with your hands, as if you
are looking at everything through the
lens. Once you've found a suitable
landscape scene, start by drawing
perspective lines and then move on to a
quick initial sketch. At this stage of the
work, digital painting allows you to
move elements of the image across the
canvas to build a more stable
composition. Select the picture by
choosing Select> Freehand, and then
draw inside the selection.

Choose a suitable viewing

angle and make a rough
sketch

04
Click the Transform option to complete
the selection, and then move it to
another point on the canvas. You can
not only move your selection, but also
edit it in other ways, including flipping
or reshaping if necessary. Try to
properly compose your sketch at the
earliest stage of your work. Find a
balance between the components of the
image, pay attention to whether there is
enough free space in the drawing, make
sure that empty spaces and objects do
not alternate in an obvious way. Try to
place the vanishing point of the
perspective lines not directly in the
center of the canvas, but slightly to the
side: this will immediately make the
composition more interesting.

Balance the composition of

your sketch

176
 Plein air

05
Once you've finished editing your initial
rough sketch, start working on it and
adding details, as well as overlaying
areas of light and shadow. It may be
helpful to sketch out lines that
emphasize volume and perspective: for
example, you can draw a road that leads
to a bridge. At this stage of the work,
the sketch may be sloppy, because you
will not need all this graphics in the
future. Just remember to compose and
turn this sketch into a painting one step
at a time.

Work out the rough

sketch option like this
so that it contains all the
information you may need

06
When you start sketching in Procreate,
automatically go to a new layer on top
of the background layer. Each layer can
be assigned its own blending mode, the
main of which can be considered the
"Darken"> "Multiply" mode. If activated,
everything on the layer will be
multiplied and visually blended with the "Multiplication" is one
layer below the current one. So set the of the main modes
Sketch Layer to Multiply Blending Mode. blending layers
in digital painting

17
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PROJECTS

07
Before you start working on the color sketch, saturated green. To change the
try changing the color of the background background color, click on the layer and
layer. Since green will be the main color of bring up the color menu.
the composition, contrasting red will be a
good choice for the background: it will show
through here and there through the vases, Change the background color

which will create a feeling of warmth and can give all the colors of
your composition more
highlight the background.
expressiveness

08
Create a color sketch on the layer
below the first sketch. A color sketch
is needed to determine the entire
color range of the future composition.
An experiment like this at the very
beginning of the work will avoid a
situation in which you suddenly find
yourself wrong with the colors of the
illustration. Make a couple of color
sketches and try new combinations
until you get the desired result and
find the color scheme that you think
works best for the image. Set the
brush to a large size and you won't be
tempted to go into details.

Create color
sketches to decide
which colors are best Sketch in color
suitable for your Sketch in color with detailed drawing
works

178
 Plein air

09
Create a new layer under the sketch,
set the Blending Mode of the layers to
Normal and start blending the colors
into the background of your
landscape. Starting with the
background of the composition will
provide you with suitable base colors
that will show through other layers
on top of them. Since there is
backlighting in our scene - after all,
the light passes through the foliage
of the trees, this layer will be painted
over with the brightest and most
saturated colors that can be found in
the entire image. Remember to turn
off the sketch layer regularly to see
how the colors look on their own.

First of all, apply

background colors

10
After overlaying the background
colors, start painting the trees on
new layers. Divide the large trees into
two layers, one for the front branches
and one for the back, which will
overlap the front ones. The farthest
trees can be drawn on a single layer
because they don't need to intersect
with anything. Separating objects
into different layers will allow you to
better control the edges of each
element and greatly facilitate the
process of applying shadows. This
approach will allow you to
subsequently remove unnecessary
parts of the trees without harming
the rest of the image. However, do
not place each new object on a new
layer, or the file will become too
confusing. Exploding is only necessary
for items that overlap.

Overlay elements
on top of each other,
drawing them on separate
layers for ease of further
editing
and creating neat
edges

17 nine
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TO THE ARTIST
eleven
Then fix the green in the background: if
you tilt the stylus, it will write in wide
grainy strokes. First, experiment with As you look at a landscape or a
the angle at which you hold the stylus. photograph of it, try dividing a specific
The strokes of the HB Pencil are pretty scene in your head into layers in your
neat when you hold it straight, but they head. Think about how to make the
become more transparent and grainy as image contain as few layers as possible,
the tilt is increased. Use different shades but at the same time they were enough
of green to create more variegation: for comfortable work on the illustration.
after all, each tree has its own color, and Gradually, experience will begin to tell
even within the same crown, the shades
you which elements should be combined
can be perceived differently. For
into a single layer, and which -
example, at a certain angle, the leaves
to distribute in different ways.
can reflect the blue color of the sky, and
in direct sunlight they will appear more
yellow.

Experiment with tilting the stylus,

and then apply greenery to the
drawing

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 Plein air

12
To add color variation to the leaves in the
foreground, highlight them and make them
brighter around the edges, it makes sense to
transfer the desired areas to a separate layer,
again for the sake of being able to superimpose
elements on top of each other. It makes no sense
to trace the outline of the front tree against the
background of the rest of the greenery. The
easiest way to avoid this is to activate the "alpha
block" on the layer.

13
When you apply an "alpha block" to a
layer, it captures the pixels drawn on
that layer. As a result, when painting on
the layer to which the “alpha block” is
applied, you can color only the already
painted pixels. Everything else will
remain transparent, and even semi-
transparent pixels will have the same
transparency. Turn on the "alpha block"
when you need to apply broad strokes
of shadow to the shape and create a
smooth gradient, but you don't want to
break the shape or go beyond its
already formed edges.

Alpha Block is the easiest and

neat way to create different
shades of color

one
81
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PROJECTS

fourteen

When all the elements of the image are so that the background color is visible
in place, start drawing them. For through the crowns. This will
example, detail the captured greenery immediately make the array look like a
and create intricate shapes and outlines lot of leaves. For the eraser, choose the
within it - to do this, delete unnecessary same set of brushes at 100% opacity —
areas of the layer. Make gaps in the this will help create crisp shapes.
foliage with an eraser,

Turn off the "alpha block", and

then paint in the details, erasing
individual areas of the fixed color
with the eraser

Paint the image

neat brush strokes
with lowered opacity values
fifteen

Everything that led to the current stage

might seem to you rather a question of
technique: as if all this time all you were
doing was organizing the workplace,
sorting the tools and getting ready to
start, finally, directly to painting. But all
these stages of preparation were
absolutely necessary. A good base is the
key to creating a quality illustration.
When the preparation is completed, the
interesting part for the painter begins:
now you can work out all the forms, add
the necessary details and subtle shades,
close to the existing colors, but
possessing interesting nuances.
Decrease the opacity of the brush - this
will allow better control of the strokes
and make them less sharp. Add a new
layer and begin to paint carefully over
it, keeping mostly to the background.

182
 Plein air

sixteen

The drawing is now missing the most it should be set to Multiply and the
important detail: there is no bridge - the opacity lowered so that you can
central element of the illustration. Draw better navigate the perspective
the bridge on a new layer and paint its constructions and understand where
outline with the darkest shade you can. exactly the bridge should be placed.
With the opacity of the brush set to
100%, draw clear paths and achieve the
most accurate and stable shape. The Add a bridge on a new layer
blending mode for the layer with the and fix it as a stable shape
original sketch is still

17
Add more layers on top of the bridge In short, clipping masks function
layer to draw in the necessary details. much the same as alpha-blocking, but
Draw a gradient on one layer with a their advantage is that you can use
large soft brush, and on all the others multiple masks at the same time and
work out the highlights in detail. even overlay them. In addition, the
Convert these layers to Clipping resulting bottom shape is easier to
Masks. They will use the pixels on the edit without damaging the painting
layers below them as an area within on top of it.
which you can paint. Other

Clipping masks use the layer below

them as a stencil that you can paint
over the image.

one
3
eighteen
eight3
PROJECTS

eighteen
At this stage, the illustration already check out all the details later. Of course, it
takes on its final features, although the is always better to paint in the open air,
image is still rather blurry, flat and because photography can rarely fully
needs additional depth. The work also convey the mood, however, if necessary,
lacks details. Try to depict and draw all the final touches can be added at home —
the elements with equal care. One of the if you were able to capture the general
benefits of digital modernity is that you atmosphere in the work.
can simply photograph the landscape
and finish painting.

A photo taken on site can be used

to add finishing touches and details
to the finished image.

nineteen
The lantern is one of the last items to
add. It can be drawn in the same way as
a bridge. First, draw the lamp and the
pillar on separate layers, make each of
the objects a shape for the shadow
layers, and overlay clipping masks on
top for this. When you have finished
drawing the lantern, continue adding
the necessary details on separate layers.

Add more details

and paint the complete
picture on new layers created
on top of everything else

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Remember to reduce the image from
time to time. This will allow you to take a
look at the miniature illustration and see
if your work is still legible and on the
right track. You can pinch the drawing to
reduce it.
fingers across the screen.

twenty
After completing the artwork, copy the
entire image. Swipe with three fingers
on the screen, then select Copy All from
the menu. Repeat the same action and
select "Paste". This is the same as taking
photographs of everything that you
have drawn. Move the merged flat
image layer called "Exposed Image" to Take a picture of everything you painted
the top of the list.

21
Experiment with different layer blending
modes to achieve different effects.
Diffuse light, for example, will make the
colors in an image more saturated and
contrasty, which can be the final
important touch for your illustration. If
you add a mask to the layer, you can
partially remove the resulting effect
without affecting the existing pixels of
the layer. When you paint the image
directly on the layer mask, it will
automatically switch to a black and
white palette. Use black to hide the
content of the layer and white to reveal
it.

Masks can be applied

in order to selectively adjust
the colors and contrasts of
the image

one
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PROJECTS

22
After you use whatever layer then decide that you will not change
blending modes you see fit and add anything else in the image. In our
illustrations of depth and color, example, we used the Multiply,
evaluate the result of your efforts and Diffused Light, and Screen blending
bring the final corrections to a new modes to create the illustration.
layer. If you are annoyed by the sheer When finished, export and share the
number of layers, you can always image (see page 18).
combine them — just as

Add
final layer
for the latter
strokes

D
DOVERALL ILLUSTRATION
This landscape, painted in open air, designate all the constituent
seemed to capture the serene mood elements. When you do not have the
that reigns in the dense foliage in the opportunity to draw every single leaf,
open air. It was important for us to learn to create the illusion of mass.
maintain harmony between the With practice, these tasks will
softness and graininess of the forms become easier for you, as you will
that make up the green mass. We become more familiar with the
experimented with harsh and blurred various tools and techniques that we
outlines, as well as color and light, to have covered in this lesson.
find balance in detail and with care.

186
fromaboutinbutI llliuppbutcandI @ FROMand is he DR ne al d
 Below: Jeriani Forests

188 All illustrations @ Simon Grunewald

Below: Swimming in Autumn

Above: In a shell

189
Creatures
FROM THE SCIENTIFIC

FANTASTICS
Sam Nassour

Artwork in Procreate is somewhat

similar to the traditional sketching
technique, but it also has all the
magic that digital technology can
offer. In this lesson, you'll learn how
to create a stylized two-character sci-
fi story set in a spaceship.

From the outset, the example of this

drawing proves that Procreate greatly
simplifies every stage of illustration
work, including sketching and line
drawing. Using a clipping mask allows
you to accurately paint over the
silhouette of a character within a path,

YOU
IN
SHHBUT
HAND
ANDT
TE B::
and layer blending modes help you
create special lighting effects, bringing BUTHave
HaveH EFROM
FROMB
characters to life in your artwork. As
you work, you will come across both
individual layers and the effects that
Sketch ideas.
have arisen when they are overlaid.
Use layer settings for expressive
lighting effects.
This tutorial is a step-by-step guide
to creating a beautiful background:
you will learn how to build a Apply drawing guides to create
perspective with two vanishing effective perspective grids.
points and how to use Snap Draw to
make sure all lines follow the
superimposed grid and achieve Depict glow effects.
realism. - a static image. The last
part of this tutorial covers lighting
effects, textures, and scene depth —
that is, the aspects that will ensure
that the background will
complement your sci-fi heroes.

PAGE 208

190
 Science fiction creatures

01
Create a new file and set the parameters to construct the image of the character put them all on the default layer. At this
of A4 sheet from the standard values. on the example of a harsh alien-thug stage of the work, there is no need to
Choose the Sketch> HB Pencil brush, and his stupid pet resembling a lizard. add new layers.
and with the sci-fi creatures in mind, When creating illustration heroes,
start sketching the general plan. This contrasts of this kind are always very
lesson will help you learn to con- funny and interesting to draw. Sketch at Start constructing characters by
least three rough sketches and layouts creating at least three
thumbnail sketches

02
Decide which sketch you like best (in our
case, sketch A was chosen), and start
cleaning it to create a detailed outline
version. Choose Select> Freehand to
draw a selection line around your
sketch, then open the pop-up menu and
click Copy & Paste. This will transfer
your chosen sketch to a separate layer.
Now you can hide or delete the original
layer on which the rest of the sketches
are located. Then use the Transform
Tool and pinch and enlarge and place
your sketch in the center of the canvas
for better results at the file's resolution.
Next, adjust the layer's opacity slider so
that it shows around 50%.

Bring up the "Copy and Paste"

menu by swiping down with three
fingers on the screen

191
PROJECTS

03
Create a new layer on top of the
sketch layer and name it "Line Art".
Always name the layers so that you
can easily understand them later -
this will help you avoid mistakes and
do not start painting on the wrong
layer when there are many of them.
Use the same HB Pencil to create
clearer outlines of the characters.
Work slowly and think about every
element of the image. It is good
practice to use various straight lines,
S-curves, and arched semicircles.
Strive for all sorts of interesting
proportions and an easy to read
silhouette. Do not hesitate to revise
and refine the original sketch. In our
case, at this stage, the alien had a
frightening-looking pistol that shoots
soap bubbles.

Draw your image with contrasting The elaboration of the contour

straight and curved lines to add rhythm graphics does not have to be done for
and dynamics to your image finishing - just put the drawing in order
so that you can start painting

04
After completing the outline of the
characters, create a solid base color
layer — later it will be responsible for
lighting the scene. The light will add
color to the characters in the
illustration and create a certain mood
in general. All you have to do is get
the lighting effects in a simple and
straightforward way: using the layer
blending modes. To do this, create a
new layer, grab it in the pop-up list,
drag it down under the "Outline
Graphics" layer and head it "Flat
Colors". Use Free Selection to draw
the silhouette you want, then fill it
with a single color by dragging and
dropping a color swatch from the top
right corner of the screen to the
desired area.

Base color layer

needed for base (local)
colors

192
 Science fiction creatures

05
Reduce the opacity of the "Outline
Graphics" layer and apply an "alpha
block" to it. Now you will not be able
to paint on this layer anywhere
except the areas already covered with
the drawing. Then fix the base colors
with a hard round brush such as the
Hard Blob. Try to paint over large
areas with solid colors.

Contour graphics
and flat colors

06
Once you've locked in your local
colors, create a new layer and name it
Diffuse Shading. Activate the Clipping
Mask so that when you paint on this
new layer, you always stay within the
bounds of the layer below it. Change
the Blending Mode to Burn> Multiply.
This mode is convenient for adding
shadows because it makes the colors
of the layers underneath darker.
Diffuse Burnout layer with
layer off
Now grab a Practical Strokes or "Contour graphics"
Gouache brush. Fill the layer with
white and, leaving the "Contour
Graphics" sketch visible, carefully
paint the shape with black and
shades of gray so that dim light
comes from the upper right corner.
Areas that the light cannot reach or
barely touches, such as corners or
deep crevices, can be left virtually
black. With this technique, you will
give the characters extra volume. As
you work, switch the layer blending
mode from Normal to Multiply and
back to check the result. Use the
Airgraph> Soft Brush to blend the
edges of the shadows.

Use clipping masks to

adjust the outlines of the
characters
illustrations on many layers

193
PROJECTS

07
Create a new layer on top of the
Ambient Darkening, name it Light Path
and set the Blending Mode to Add. In
our case, the light source is located in
the upper right corner. With that in
mind, capture the simple outlines of the
highlighted areas using the Sam's Roller
and Practical Strokes brushes. Try not to
make these shapes too soft at this stage.

08 The Light Path layer superimposed on the

Make all layers visible to check how they Diffuse Shading layer with the Contour
look together. Adjust the opacity levels of Graphics layer off
each one according to your needs. Now it
is important not to overdo it with light,
because so far we are only at the initial
stage of work on the illustration.

The result of stacking four base

layers on top of each other

Layer structure

Flat Colors + Diffuse Shading Flat Colors + Diffuse Blackout +

Light Path

194
 Science fiction creatures

Contour graphics Flat Colors (Normal) Diffuse blackout

+ Silhouette (basic (Multiplication)
color layer)

Light path Flat colors

(Add) + Scattered
blackout +
Light path

Layer breakdown

09
Now pinch through the list and merge
all the separate layers into one and
continue painting right over it. This will
allow you to focus your work on the
painting process, rather than on the
constant organization of layers. Fix the
opacity of the current layer, then paint
all the details on it and intensify the
lighting effects. Select Flat Brush for
basic work. Do the same for the lizard
pet, placing it on a separate layer.

Combine all the basic light layers of

the main character into one, and then
write the necessary details and
lighting on it

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PROJECTS

10 FROM
FROMOVET

XyUDCoolant
WH NO
IRKU
Have
Use Settings> Curves to adjust the
contrast. Choose Composite and BEFORE
slightly tweak the points of the
curves to increase the contrast and Effectively use
highlight the colors a little. Try to Procreate means mastering all
make the curve S shape - this will the necessary gestures. The
make the dark areas of the picture more you get used to different
darker and the lighter ones even gestures, the faster your
lighter. workflow becomes. An extremely
useful tool that reduces the
number of operations required is
Take advantage of
the Edit button. Clicking it, you
the Curves tool,
to increase will bring up the "Quick Menu",
contrast which consists of six of the most
frequently used commands,
including such as create new
layers, delete, "block alpha
channel", and others. You can
personalize the set of commands
in this menu by holding down
any of the six options presented
and choosing another option
from the list.

eleven

Use the Liquify tool to continue

changing the proportions of objects
and making general adjustments to
existing shapes. "Plastic" is an
effective tool, so when activating it,
be careful not to distort the image
too much, otherwise you can deviate
too far from the original idea and lose
what made it a good idea at the very
beginning. Experiment with the
Impulse slider if you want motion and
instability effects. "Impulse" is a
suitable option for slightly changing
the design, but not redrawing the
finished composition and not painting
it again. But again, don't overdo it:
find a balance between manually
adjusting the image and activating a
command to do everything for you.

Plastic Tool
useful for minor shape
adjustments
and proportions if
necessary

196
 Science fiction creatures

12
Continue adding small details such as
scratches and textures to the image
of your alien. Use a Flat Brush with
75% Opacity. You can also overlay
textures on top of each other by
importing images of any ready-made
black and white textures. To do this,
go to "Actions"> "Add"

> Insert Photo, then go to your iPad's

gallery (where you should already
have the desired black and white
textures saved) and confirm the
import. Set the imported photo to
Overlay blending mode - this is good
for working with textures.

Consider adding a subtle texture

overlap

13
Use the Transform> Warp tool to
reshape the texture and apply it
realistically to a ball-like surface like
the shoulder of an armor. Adjust the
corner points to give the texture the
shape you want. Toggle between No
Snap and Warp modes to properly
position the texture for the shape. On
the main piece of the chest, apply a
simple uniform texture by hand using
the Textures> Halftone brush.

Add pattern overlays with texture

brushes — this example adds a
simple hex pattern texture

"Deformation"
from "Transformation" is
a great way to add textures to
volumetric
surfaces

197
PROJECTS

fourteen
For the background, you need to create
something simple so as not to distract
too much attention from the main
characters of the illustration. Use the
Procreate drawing guides to get the
perspective right. To activate these
commands, go to Actions> Canvas,
move the Guides slider to on, and then
click Edit Guides. Now you can place
vanishing points to build perspective
anywhere on the canvas. Activate the "Guides"
and choose the appropriate
perspective option

fifteen
When building a perspective with two
vanishing points, it is important to keep
those vanishing points away from each
other and not tilt the horizon line. You can
also adjust the width of construction lines
by moving the Width slider located at the
bottom of the screen. Click Finish when
you are happy with the perspective grid.
Now you can see this grid when you sketch
the background.

Make sure the characters

in the illustration are placed
inside the lattice, and keep
the horizon line straight

sixteen
To make your lines automatically follow
the directions of the grid, as if you were
using a ruler, you need to activate the
option "Draw with anchor" on the
desired layer. This command snaps to a
specific layer, so create a new layer to
sketch the background and apply the
Drawing Assistant to it. This method will
be very useful if you need to draw
straight lines first, and then free-form
sketch.

Activate "Draw
with anchor "so that the drawing
lines automatically follow
directions of the lattice you
previously built

198
 Science fiction creatures

17
Continue sketching the background.
Create a new layer under this sketch
and fill it with gray. Use the Selection
tool to lock in the position of the main
elements and keep the shape clear. Set
the blending mode of the layers to
Multiply.

Fix the main

background elements
with the Selection tool

eighteen nineteen
When you have finished working on the Use the Flat Brush to paint in some mode from manual stroke to point
background, create a new layer and drag it in details. For this, choose shades of blue polygonal. To combine the two, tap the
the list of layers under the background sketch that are similar to the main fill color. Use screen instead of dragging the stylus to
layer. Since there is almost no detail in the the Selection Tool, make a neat selection create a selection. Painting shapes
background image, you can leave it all on one around the edges and paint inside it. within the borders of the selection is a
layer. To speed up the work process, just fill a With activated "Selection", constantly good way to get sharp outlines for
new empty layer with a solid blue color. switch to "Arbitrary" illustration elements.

Leave the background colors

mostly monochrome - we made them
blue - so that the characters Paint inside selected areas is a
immediately draw attention to great way to keep shapes sharp.
themselves

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PROJECTS

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XyUDCoolant
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BEFOREIRKU
Have
Procreate's intuitive tools make
it easy to get started and get
started right away. You will
learn everything quickly - you
just need constant practice.
Remember to neatly organize
your layers as

more convenient for you.

twenty

At this stage, it makes sense to turn on the

visibility of the layers with the characters
again. This will allow you not to spend too
much time drawing those details that will
be hidden from the eyes of the figures of
your heroes.

Background in the process of creation

21
To create a glowing effect for the
background lamps, first create a new
layer and draw clear shapes on it. Use
the Polygonal Selection to draw
regular rectangular shapes and fill
them with a single color. Then
duplicate the layer and set the
blending mode for the resulting copy
to "Add".

Create polygonal
point selections using
"Freehand" selection: to do this,
click on the corner points of the
future shape instead of moving
the stylus without lifting it from
the screen

200
 Science fiction creatures

22
Choose Settings> Gaussian Blur and
swipe from left to right to adjust the
amount of blur. When you're happy Use Add Layer Blend Mode with
with the result, go to Settings> Noise Gaussian Blur enabled to create a
and add some graininess to the glow. glowing effect

23
Activate the Transform> Distort
option to apply the desired texture to
the surface of the shape. This mode
allows you to modify a flat texture to
properly blend on a flat but distorted
perspective surface. In our image, it is
important not to overdo it with
distracting details, because the main
focus is on the heroes of the
illustration. Therefore, a few subtle
allusions to a single science fiction
story are all we need in this case.

Option "Transformation"
> "Distort" will do
to apply textures to
perspective-changed
surfaces

201
PROJECTS

24
To create a sense of depth of field for aerosol ”to erase part of the floor from
the camera, duplicate the background the blurred layer, because you want to
layer and apply Settings> Gaussian Blur blur only the farthest areas of the
to the resulting copy. This will allow you background and are not going to touch
to get the out-of-focus effect and add the middle ground. Make the layers with
depth to the composition. You can also your heroes visible, thus bringing them
turn on Settings> Noise to simulate the back to the illustration. The image is
graininess of a filmstrip. Then use the now ready and you can export it and
Soft share it with the world (see page 18).

Finished background view Use Gaussian Blur and Noise

with camera depth of field filters to create a sense of depth
effect

D
DOVERALL ILLUSTRATION
During this lesson, you learned how you like. Be prepared for new
to use the basic tools and techniques discoveries - there is always
that exist in Procreate, and now you something to learn and use in your
can create your own sci-fi creatures work. Creativity and constant
and their habitats. Continue to train experimentation are very beneficial
yourself in any art style or genre that for developing artistic skills, so allow
yourself to have fun and enjoy the
process.

202
Finished Illustration @ Sam Nassour
Below: Viking

204 All illustrations @ Sam Nassour

Above: Captain Whiskers
20fivefive
twenty
GLOSSARY
Diffuse blackout Gestures Settings
Diffuse dimming describes the type of In Procreate, gestures are commands that Settings is a menu found under the Actions
shadow that occurs in diffuse, non-directional can be triggered by swiping your fingers tab that contains general settings for the
light, such as on an overcast day. Such a across the screen of your iPad. Procreate application.
shadow mainly accumulates in depressions
where diffused light cannot reach. Import Pressure sensitivity
Needed to add files to Procreate. You can The ability of the program to recognize the
Apple Pencil stylus import flat images, brushes, or even files force of pressing the brush and reproduce it
An advanced stylus designed by Apple from other programs (for example, in the PSD digitally accordingly.
specifically for the iPad. This is the format, in which Photoshop files are saved).
recommended device for use in Procreate, RGB
with features such as tilt recognition, A color mode that adjusts color by measuring
pressure sensitivity and side buttons. Image format the amount of red, green, and blue in an
To turn digital image information into real image.
illustration, the file must be saved in a specific
Background color layer format that your device can read. There are Stylus
This layer appears automatically when several important formats, but the most A pen-shaped tool that controls a touch
creating a new file and is characteristic popular are JPEG for images that do not device such as an iPad.
exclusively of Procreate. It cannot be deleted. require transparency; PNG for images with
transparency information; GIF for animated Tab
Backup copy images and PSD or PROCREATE for files One of the sections of the menu. The menu
Make a copy of your digital artwork to avoid consisting of layers. can have many tabs, each of which, in turn,
losing it. has a list of different categories to choose
from.
Brush library
A collection of brushes in Procreate. You can Layers Miniatures
expand it by creating your own personalized In digital painting programs, layers can be Small preliminary sketches and drafts of the
brushes or by downloading brushes created compared to a stack (stack) of transparent future illustration, a preview of your image in
by other artists. sheets. You can create, reorganize, and delete the application.
them, as well as draw and modify them
Set of brushes individually. Layers are one of the most Tilt sensitivity
A group or category of similar paint brushes. important digital painting tools. The ability of the program to recognize the tilt
of the stylus tip on the screen and display it
digitally accordingly.
Canvas Contour graphics
The surface you paint on, be it analog / An artistic technique that involves creating an
traditional or digital painting. illustration using lines without coloring. It Time lapse video
may be the final result of the work, but some This is a unique Procreate feature that shows
artists also prefer to work out a rough sketch you step-by-step illustration creation at an
Dock before creating a final version in contour accelerated rate.
A shortcut menu that contains applications graphics, so that they can then be used as a
recently used on your iPad. To call it, swipe up basis for a painting canvas. The working process
with your fingers on the screen of your device. Project development process from start to
finish. Some artists first create rough
sketches and underpaints and then clean
Export Opacity them up and turn them into line art with final
Required to save your artwork outside of An indicator of how transparent or opaque colors. Every seasoned artist develops his or
Procreate. You can export files to your device something is. In the context of digital her own algorithm over time for an efficient
or other applications. painting, this metric usually describes the workflow.
transparency of brush strokes or layers.

File Pop-up menu Value

Used synonymously with "canvas" or A pop-up menu is a drop-down list of In painting, "Meaning" refers to how light or
"illustration". Each new illustration is a functions that provides additional dark a particular color is.
separate file within your gallery. information, settings, or options.

Gallery
The Procreate home page, which shows all Perspective
your files. Here you can create new canvases, In the context of drawing and painting,
as well as preview, delete or reorganize perspective is a way of displaying the three-
existing ones. dimensional depth of space on a flat surface
such as a screen or sheet.

206
 OSSAABOUT IN AND ISOK TOOLS

LIST OF TOOLS T GL RIY SP

Alpha block 44 Trim 68 records. Useful when creating expressive

A command that allows you to lock the Tool that allows you to crop images and textures.
transparent pixels of the layer and allows resize the canvas.
you to draw only on the filled pixels. Pressure curve 70
Curves 64 In Procreate, the pressure curve is a
Layer Blending Modes 46-47 A setting used to adjust the color of an setting that allows you to adjust how the
Option defining the relationship between image using histograms. Mainly used for program detects the pressure applied to
two or more layers. By default, each layer adjusting the degrees of darkness and the brush.
is set to Normal, which works the same as light in illumination.
if two sheets of paper were stacked on top Quick menu 71
of each other. Other blend modes convey The unique Procreate feature, consisting
different darkening and lightening Personalized brush 33–35 of six personalized commands that you can
methods, as well as other interaction A brush created from scratch by Procreate customize and activate
options. or modified from an existing standard bed with a special gesture.
flowers. brush.
Fast figure 36–37
Blur 58-59 Drawing guide 69 Fast figure is unique team
A setting that allows you to feather the The Procreate application tool that allows Procreate, which allows you to draw
pixels of a single layer. Opposite to him you to build and edit grids on the canvas straight lines and perfect geometric
effect - "Sharpness". for further drawing on them. shapes, automatically correcting hand-
drawn contours.
Brush 28-35
Essential digital painting tool. The Drawing with anchor 69 Repainting 65
Procreate Brush Library contains the This tool follows your lines with the This setting allows you to select individual
widest selection of different brushes with directions of the last drawing guides. You areas of color and recolor them.
which you can simulate different can turn this function on or off on each of in another, pre-selected color.
materials and effects. the layers.
Highlighting 50-53
Clipping mask 49 Eraser 28, 30 A tool that exists in most digital painting
This is a team of interaction of several Tool to remove pixels from the canvas. programs that allows you to isolate and
layers. It makes one of the strata the highlight specific areas of an image for
“parent” of all other strata-“children”. Hue, saturation, brightness (HSB) 63 further work.
Children cannot paint outside of pixels A color mode in which you can adjust color
"Parent". by individually adjusting its hue,
brightness, and saturation. In Procreate Feathering 28, 30
Color balance 63 and other digital painting programs, this is Procreate tool that lets you drag and
A setting that adjusts color using also a great way to edit the finished colors smudge paint instead of applying and
indicators of the amount of red, green in your image. removing it.
and blue in the image.
Transformation 54-57
ColorDrop 40 Plastic 62 Tool Procreate, which allows you to change
The unique Procreate tool is used to fill Allows you to modify, distort and change the the position, proportions and scale of
closed areas of an image with a single shape of pixels on the canvas. individual elements of the image. You can
color. To do this, you need to drag to the move them, distort or deform them.
canvas Blocking 44
the color swatch located in the upper right Locking a layer prevents you from
corner of the screen. changing it in any way. Cancel / Refund 25
The Undo command allows you to take a step
Colors pop-up menu 38–41 Magnet 57 back in a sequence of actions, and the Return
Menu that opens when you click on the This command, unique to Procreate, can command takes you one step forward.
color swatch in the upper right corner of move an object along horizontal, vertical
the screen. Allows you to select and adjust or diagonal axes with fixed rates.
the color in various display modes: "Circle",
"Classic", "Value", "Pali"
tra ". Mask 48
A non-destructive tool for the workflow,
Color swatch 38, 41 thanks to which you have the ability to
A circle in the upper right corner of the mask areas of a layer without removing
screen that represents the currently them.
selected paint color. Color swatches are
also small squares of color that make up Noise 61
palettes in different color modes. A setting that creates noise on a layer
similar to the effect of a photo or video

207
7
twenty
MATERIALS
FOR DOWNLOAD
The materials below are available for download. You can
use them to experiment as you read the Getting Started
section and to go through
all lessons in "Projects". We advise you to download all
materials before starting work.

Beginning of work Fantastic Landscape -

Samuel Inkilainen
Sample image with layers
Time lapse video

Set of brushes by Samuel Inkilainen

Brushes:

"Technical pencil"
Illustration by Izzy Burton "Sketch"
Opaque Oil
Time lapse video
Oval hard

Contour graphics "Soft brush"

Gregory
Chalk
Bushes
Jellyfish Stamp
Character Creation- Speckle
Evelyn Stockhart Hard smudge
Feathering
Time lapse video

Character Exploration: Time Lapse

Video Outline Graphics Fantastic creature -

Nicholas Cole
Time lapse video

Contour graphics

Brush MaxU Shader Pastel (Max Shader Pastel ©

Max Street. This brush is in the Essential MaxPack.
You can buy Max's brushes at MaxPacks.art)

Tara's Oval Sketch NK brush © Tara Yauregi was

also used in this tutorial. You can buy the Tara's
Oval Sketch NK brush at: gumroad.com/dizzytara

208
 DOWNLOADS

Traditional Materials - Max

Street
Time lapse video Plein Air — Simon Grunewald
Contour graphics Time lapse video

Brush SetMaxPack

Brushes:

MaxU Gouache Bristle Gritty

Science Fiction Creatures - Sam
Nassour
MaxU Gouache Grain Cloud

Maxu gouache thick

MaxU Sketchy Sarmento
Time lapse video

More about Max's brushes on the website: MaxPacks.art

Contour graphics

SamNassour's Painterly Miniset Brush Set

Spaceship-
Brushes:

Sam's Practical Strokes

Dominic Mayer Sam's Roller

Sam's flat painterly

Time lapse video
Sam's simple gouache
Contour graphics Sam's hard blob

Illustration © Sam Nassour

209
nine
twenty
AUTHORS-COMPOSITORS

Izzy Burton Samuel

izzyburton.co.uk Inkilainen
Izzy Burton lives and works samuelinkilainen.com
in the UK. She is a
freelance filmmaker and Samuel Inkilainen is a
artist who specializes in digital artist who lives and
animation and illustration. works in Tornio, a city
Burton is the director of located
the award-winning in Finnish Lapland. His
animated short film Via. interests lie in the creation
Currently works as a of digital painting
director for Troublemakers landscapes with a slight
and Greenhouse (an addition of the traditional
initiative of Passion watercolor technique.
Pictures), in addition,
works as an illustrator. Freelance director
Freelance 2D Artist
at Bright Agency.
and artist

Nicholas Cole
Simon Grunewald nicholaskole.art
instagram.com/
A professional with a
schmoedraws decade in the
German-born Simon entertainment industry,
Grunewald - illustration Nicholas Cole can now
thor and character spend all his free time
designer. You may already painting dragons and
know her as Schmoedraws wizards on his iPad in
in Instagrame, YouTube or Procreate. You may be
Patreon. Simone has familiar with his recent
worked in the gaming work in character
industry for over ten years development for the Spyro
as the head of the art Reignited Trilogy, and his
department. She helped clients include Disney,
shape the visual side of DreamWorks, Blizzard,
many computer games. Freelance Illustrator Nintendo, Warner Freelance designer
and character designer Brothers, Riot, and many characters and illustrator
others. Lives in Vancouver.

210
 AUTHORS-COMPOSITORS

Dominic Mayer
artstation.com/ Lucas Peinador
dtmayer lucaspeinador.com
Costa Rican native, Lucas
Dominic Mayer lives
Peinador - illustrator
in Nuremberg, Germany.
and a concept artist
He is a professional con-
working in the video game
cept artist who
industry. He is genuinely
acted as an illustrator
passionate about creativity,
a number of computer
is dedicated to spreading
table and card games, as
the knowledge needed for
well as films. He is
aspiring artists, and strives
interested in exploring
to inspire others to unleash
new universes, unique
their creative potential. He
worlds, create exciting
Freelance concept also dances salsa Illustrator and concept
stories and images.
artist and illustrator wonderfully. artist

Sam Nassour
samnassour.com Evelyn Stockhart
Sam Nassour - Art Director avelinestokart.com
and Visual Development
Evelyn Stockart is a character
Artist,
designer and comics artist
who lives and works in
from Belgium. She is
London, UK. He is engaged
interested in character
in the entertainment and
construction and the creation
animation industry
of universes. She studied 3D
and collaborates with
animation at the Haute Ecole
studios such as Cartoon
Albert Jacquard and is now
Network, DreamWorks TV,
continuing her studies on her
Disney TV, Netflix and many
own. Stockart is currently a
others. Nassour recently
freelancer working with a
worked on the new series,
variety of clients in the book
Paddington, at the Blue Zoo.
Artistic Director and Visual publishing and animation
He is also currently teaching Character designer
Artist industry.
a character design course at and comic artist
Escape Studios. development

Illustrator, Art Director &

Brush Designer MaxPacks
Max Streetney
maxulichney.com
Max Streetney is an illustrator and animation art
director who lives and works in Los Angeles. His
brushes from the MaxPacks for Procreate set are
used worldwide by professional and aspiring artists
alike. Soon, Streetney is going to release his first
book for children.

21 one
eleven
ALPHABETIC INDEX
Acrylic, 28, 35, 81–82, 100, 165 Color, 7, 10, 13, 16, 39, 41, 46-47, 58, 63, File format, eighteen
82-83, 88, 95-96, 98, 104, 110, 113-114, 119,
131, 140, 142-143, 151, 154, 159, 163, 169, 178,
Actions, 7, 10, 13, 24, 31, 53, 66-69, 71, 127, Filters, 110, 113, 119, 143, 154, 202
159, 197, 206 207

Merging, 43, 48, 96, 102, 142-143, 153,

Settings, 7, 10, 13, 58–59, 61, 63, 65, 78, Color balance, 58, 63, 88, 110, 140, 143, 168-169
88, 102, 104, 110, 113, 119, 126, 128, 169, 196, 169, 207
201–202
Reflect, 57, 78, 87, 114, 127, 144
Lightening the base, 46, 113, 119
Spray can, 28, 33, 104, 115, 129, 131, 134-135,
Fonts, 67
193, 202, 209 ColorDrop, 40, 48–49, 207

Without binding, 54–55, 197

Alpha blocking, 42, 44–45, 48–49, 83, 85–86, Contrast, 47, 192
92, 96, 108–109, 111–112, 131, 152, 166–167,
174, 181–183, 193, 196, 207 Arbitrary selection, 50-51, 53, 76, 94,
Trim, 52, 68, 207 145, 176, 191-192, 199-200
Diffuse blackout, 193-195, 206
Curves, 58, 64, 104, 140, 192, 196, 207 Gaussian blur, 58–59, 61, 102–103, 116,
Apple 8, 30, 35, 70, 72, 76, 147, 206 154, 201–202
Personalization, 11-12, 16-17, 29, 32, 34, 93,
108, 140, 146, 159, 206-207 Gestures, 8, 10-11, 24-25, 27-28, 39, 44, 66, 71,
Automated drawing, 66, 69, 71, 141
191, 195-196, 206-207
Cut, 26, 65, 191, 207
"Background Color" layer, 42, 142, 206 Gradient, 33, 44, 53, 58, 82, 110-112, 131, 133,
Blackout, 46–47, 177, 193 162, 166, 181, 183

Blending mode, 28, 34, 42, 46–47, 80,

84, 87, 92, 94, 103-104, 108, 113, 116, 119, A circle, 38–39, 207 Bar graph, 64-65, 207
127, 135, 137, 142-143, 149, 158, 163-164,
167-168, 174, 177, 185-186, 192-194, 197, Hue, saturation, brightness 63, 96, 110, 113,
Distortion, 54–55, 201
199-201, 207 119, 128-129, 143, 207

Drawing with anchor, 69, 140-141, 145,

Blur, 58-59, 61, 102-104, 116, 137, 154, Import, 12, 16, 32, 38, 67, 98, 147, 197, 206
159, 198, 207
201-202, 207

Drawing guide, 69, 141, 144, Ink Bleed Brush, 93, 98–99, 102
Brightness, 58, 63, 96, 110, 113, 128-129, 143,
207 159, 198, 207
Interpolation, 54, 57

Brush, 13, 28–35, 45, 62, 70, 76, 81–87, 93, 95, Duplicate, 18, 32, 44, 53, 87–88, 103, 110,
98–102, 104, 109–119, 125, 127–128, 130–131, 116, 129, 169 Invert, 31, 47–48, 50, 53, 143
133–135, 140, 143, 146-147, 153-154, 160, 162,
165-168, 174-175, 178, 182-183, 191-195, Dynamics, 35, 117 Wobble, 35, 117
197, 207-209

Edit, 36–37, 48, 67, 69–70, 141, Layer, 9, 18, 24, 26-27, 40, 42-50, 53-54, 58,
Canvas, 12-13, 16-17, 22, 24-26, 28, 30, 33, 35, 144, 159, 162, 174, 198 61, 65-69, 71, 76-88, 92-104, 108-116,
39-40, 42, 50, 52, 54, 57, 66, 68-71, 75, 78, 80,
118-119, 124-135, 137, 141-143, 145, 148,
93, 98–99, 109, 111, 114, 116, 127, 141, 144–
Delete, 13, 18, 27-28, 30, 48, 76-77, 87, 98, 150-154, 158-159, 161-169, 174, 177-186,
145, 148, 158-159, 162-163, 176, 191, 198,
113, 116, 119, 133, 160, 179, 182, 185, 202, 206, 190-196, 198-202, 206-207
206-207
207
Levels, 146, 193-194
Chalk brush, 95, 101
Export, 18, 21, 32, 42, 71, 88, 104, 154, 170,
202, 206 Lightening, 46-47, 84, 116
Clear, 24, 27, 48, 50, 53, 109-111, 192

Pipette, 39, 71, 82, 98-101, 110-111, 148, 165 Plastic, 58, 62, 78, 113, 126–127, 196, 207
Clipping mask, 42, 48–49, 74, 83, 92,
100, 103, 108-109, 111-112, 143, 150, 162, 165,
167, 174, 183-184, 190, 193, 207 Pen, 53 Magnet, 54, 57, 94, 207

212
 ALPHABETIC INDEX

Mask, 42, 48–49, 52–53, 61, 70, 74, 83, 92, 96, Resolution, 17, 18, 68, 93, 191 Feathering, 13, 28, 30, 34, 71, 84, 102, 115,
100, 103, 109, 111-112, 124, 128-129, 132, 137, 133, 165, 168, 207, 209
143, 152, 162, 165, 167, 174, 183-185, 190, 193,
Rocks, 55, 86, 112, 114, 116
207
Spaceship, 158-161, 163, 165, 167-169, 209
Saturation, 38-40, 46-47, 58, 63, 96, 110-
Menu, 13, 16, 19, 24, 26, 28, 32, 34–35, 46, 48–
112, 113, 119, 128-129, 140, 143, 151, 163, 207
51, 54, 58–59, 62–63, 66, 68, 71, 77, 104, 128,
Splatter brush, 82
131, 145-146, 185, 191, 196, 206-207
The size, 34, 76–78, 114–116, 121, 137, 146,
153, 191, 207 A set of brushes "Aerosols", 4, 82, 86–87, 100
Combine, 42–43, 48, 76–77, 87–88, 97, 118–
119, 186, 195
Screen, 9, 11-13, 16, 18, 21, 24, 26-27, 31, 34, Straight, 36–37, 44, 57, 59, 76, 79, 141, 151,
36-37, 44, 46, 50-52, 54, 57, 59, 62, 68-71, 75, 161, 180, 192, 198
Multiplication, 46, 80, 94, 97–98, 100–102, 113,
87, 95, 98, 103, 114, 167-168, 186, 206
115, 119, 127, 132-133, 142, 149-150, 167, 177,
183, 186, 193, 195, 199 Texture, 28, 33, 45, 61, 74, 85–86, 93, 95, 98,
Selection, 7, 10, 13, 16, 28, 48, 50-54, 57, 62, 100, 117, 146, 148, 175, 197, 201, 207
70, 76–77, 87, 94, 113, 116, 125, 128, 132, 145,
Noise, 28, 58, 61, 104, 119, 154, 201–202, 207
158, 160-161, 166, 176, 191-192, 199-200,
Incline, 8, 30, 34–35, 72, 76, 124, 161, 206
207-208
Opacity, 13, 28, 30–31, 35, 42, 44,
46, 53, 62, 67, 69-70, 79-80, 82, 84, 86-87, 93, Transformation, 7, 10, 13, 36, 50, 54–55, 57,
Shadow, 45, 49, 92, 97, 103, 114-115, 130, 132-
97-100, 102-104, 114, 116, 119, 126-127, 147, 76–78, 87, 94, 97–98, 116, 142, 145, 162, 176,
135, 137, 143, 166, 177
154, 160, 164, 167, 182-183, 191, 193-194, 197, 191, 197, 201, 206–208
206
The form, 33–34, 40, 45, 49, 51–52, 54, 56, 74, 83,
Transparency, 18, 42, 94, 181, 195, 206
96, 99-100, 110, 112-113, 115-116, 118, 126,
Overlapping, 47, 87, 103, 113-115, 119, 135,
128-129, 131-132, 134-135, 145, 160-162,
150, 154, 197, 201
166-167, 181, 183, 196, 207, 210 Transparent, 18, 30, 35, 42, 45–46, 49, 100,
143, 147, 181, 206–207
Palettes, 38, 41
Share, 16, 18, 26, 28-29, 32, 41, 66, 69-
71, 88, 104, 170, 202, 216 Value, 35, 38-40, 46-47, 64-65, 108-109,
Paste, 24, 26, 26, 52, 66, 77, 94, 98, 104, 145, 114-115, 119, 124, 137, 163, 206
147, 185, 191
Sharpness, 58, 60–61, 119, 169, 207
Deformation, 54, 56, 145, 197, 207
Perspective, 55, 58–59.69, 78, 97, 104, 111, 114–
Silhouette, 45, 49, 70, 99, 111, 128-129, 192, 195
115, 127, 140, 144–145, 176–177, 183, 190,
The working process, 9-10, 24, 38, 43-44, 48-49,
198, 201, 206
71, 92, 114, 196, 206–207
Sketch, 21, 44, 79–80, 82, 92–95, 97–99, 108–
109, 124–128, 130, 132–134, 142, 144, 159–
Color selection, 142, 151, 178
161, 167, 174, 176–179, 183, 190-195, Workplace, 75
198-199, 206, 208
Pressure, 8, 28, 30, 35, 62, 70, 114, 117, 72, 147,
Increase, 21, 24, 34, 38, 86, 118, 144, 146,
206–207
Sketch Brush Set, 28, 76-77, 83, 93, 153, 185
142, 174-175, 177, 191, 198, 213
Fast figure, 28, 36–37, 49, 76, 79, 140–
141, 145, 162, 167, 207

21
o3ne3
Illustration @ Ignacio Bazan Lazcano
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administrative and civil liability.

Leisure edition

LEARNING TO DRAW ON A COMPUTER AND A TABLET

PROCREATE
LEARNING TO CREATE MASTERPIECES ON THE IPAD

The only guide to digital painting

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Phone: +38 (044) 290-99-44, (067) 536-33-22. Email: [email protected]
The full range of products of Eksmo Publishing House LLC can be purchased in bookstores
shops "Chitai-gorod" and order in the online store: www.chitai-gorod.ru. The telephone of the
unified reference service: 8 (800) 444-8-444. The call within Russia is free.
Internet store LLC "Publishing house" Eksmo "
www.book24.ru
Retail sale of books with worldwide delivery. Tel .: +7 (495)
745-89-14. Email:[email protected]

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