FULL Procreate painting process from start to finish [PINK]

hey everyone this is Nico and for this painting I had two kind of cornerstone requirements that I wanted this painting to achieve I want it to be part of my art is my real home challenge link is in the description if you want to join you can use this hashtag on Instagram and I will find your painting that way but I wanted this to be not only a house but I wondered most of the colors to be pink those are the two kind of main requirements that I have for this painting and I didn't have any like more specifics for that the whole idea basically came from seeing these trees outside my building they're really beautiful it's like pink flowers blossoming at this time of the year and it's only for a very limited amount of time so I'm lucky that I had my camera so that I could take some footage to show you guys they look really awesome and that just got me inspired to do just something pink basically when I don't have a more specific idea I try to take what I can from the idea to gather more elements so that I can get further inspired by the colors and maybe it's just something that will spark my imagination so the palette that you see me using in the beginning of this video that is not actually useful for creation of this painting that is just a tool that I made for myself to play around with this palette of different colors and then mixing them together pretty much for every video somebody's always asking me what brushes I use I always want to point out that that's the wrong question to ask because almost always I'm using one brush and the same thing is true for this video as well I'm using only one brush that I made myself and that brush is also used for the clouds that I am going to be doing for the sky at the end of this video I'm pretty happy with this brush so far because it can do this both things like create these very hard edges and the softness of the clouds so I think it's almost done one thing that I am not still happy with is the shape of the brush so I'm probably going to edit that before I put my own brush set for sale on gum road but that's going to happen at some point I just want the tools to be ones that I'm actually happy using myself and this is the brush that I have been working on for years basically now so it will be done when it's done but it's only like few tweaks away from now at this point so thank you for your patience and at the same time I want to remind everybody that you don't need my process the process already in Procrit are super good and they're free there's also this other video that I created about my favorite procreate process all of the process mentioned in that video are free and already in your copy of procreate so remember you don't need my process especially you don't need them in plural because I definitely recommend sticking with only one or two process that you feel comfortable with and then just focus on the brush strokes because with brush strokes you can create so much more than this process that are that stamps of copy the same stamp all over the painting the reason why I'm mentioning this is that I've seen a lot of process online for example for foliage where the brush shape itself is the shape of a single leaf and then people use those process to create foliage for trees in a picture while that might look like an easy way to add a ton of detail in your painting you don't really want to have detail in your painting that is not purposeful and directing the eye towards your main visual impact in that piece so when you use this sort of like stamp brush it's like for example some people use a single blade of grass and then use that as like stamp to create millions of blades of grass inter painting when you could just be doing few brushstrokes for the grass area and then have to move through the grass area to the actual points of interest in your piece of course doing everything by hand like this takes a lot of time I'm not trying to say that like doing this painting took me days and days of work but I do think that when you make stuff by hand the end result is kind of more thought-out because you go through this thought process every time you start to paint one area that do I need to have this detail here is it actually helping or is it distracting from my main focal point because even though this painting might have less detail than something that would be done with stamp type of brushes I think the detail I put in this stuff that I actually want to be so I think the detail that I put in is actually stuff that I have thought about and want to be there and this might vary depending on how you like to paint it this is just me explaining what my process for painting is and the thought process of why I make this decisions for the tools that I use and the tools that I don't use recently I had the unfortunate experience of telling few of my students in the concept art class that like do not use the smudge brush in Photoshop for five years because it's distracting you from learning how to use brush strokes in a painting and I know that every time you as a teacher tell somebody not to use something of course they are going to want to use the exact thing that was forbidden for them so this is probably not my smallest source of words that I did in that back session but hopefully they will understand that my duty as a teacher is to try to help them that's the only reason why I said that not just to make painting less fun and to be restrictive but setting up your work process in a way that helps you learn faster I think that's one of the most beneficial things you can do especially if you're new depending and have started painting recently bringing in pretty much all the possible tools that are available to you no matter what application you are using that is a sure way to kind of like clog up the learning process because you have so many different elements or which might be helpful for creation of different images or illustrations or paintings but in the beginning you don't know what your goals for creating a good image are yet so limiting the tools definitely is always more effective way to learn for the lines of this piece I am using the template that I made for artists my real home challenge you can see these templates in the video they are free to use even if you are not doing this challenge that's just there to help you especially during this time when I think creativity can sometimes be difficult and I credit these templates off so for myself so I would have a lower barrier of entry to start a painting when I'm feeling not as inspired so for this piece I'm using the facade of the building that doesn't really have any perspective in the lines of this template so I'm breaking apart the entire facade and piecing it together in a new way that way I can use the aspect ratio of the windows and keep the door sizes the same in comparison but it's quite fun how easy it is to use these assets to create a building that looks completely different and yet it gets rid of all of that boring stuff which is creating this windows and making sure that the panels are the exact same size and so on and then adding this perspective to the building I did that just by going to the perspective guide and adding one vanishing point and only using one vanishing point to create the thickness of this building it's not that important to the visual impact of this piece I only use the thickness to carve out it's like additional balcony in the bill and that is just created to add more visual appeal to how the sunlight is playing with the structure of this building that's the whole idea why this three dimensionality even exists I don't see the need of like me needing to prove that I can do a three-dimensional building I think the door sort of ideas don't really interest me but if it drives the story forward and needed as to the sense of mood in the piece then I think this sort of elements are worth the trouble I'm really not interested in impressing anyone I think this has been a huge change in my life and especially in my artistic career when I was working on a lot of commercial projects and especially when the producers were not even living in Finland when it's some guy in a London office sometimes looking for my paintings and giving their feedback to them it's basically you're just trying to get the project moving forward and to get the funding for whatever you are making you have to kind of put the project and the funding of the project to the foreground in all those situations so you don't get that much creative freedom at the end and when working that way you kind of eventually start having this mentality bleed into your own work and your own sense of aesthetics and to me that was not good at all was a lot of things that I was working on they were like this like dark and violent projects that had very dark these has rated colours and I loved painting colors so there was this whole other aspect of me missing and I put so much of my time and effort into my work that I didn't really have creative energy on my free time to dedicate to my own paintings and I forgot how important that is to me and basically my whole happiness if I would advice one thing to the new concept artists it's just always have something of your own always keep painting for yourself and always have online presence outside of the company that you aren't working for and make sure it whenever you are signing any contracts that it allows for you to own your own work that you make on your free time and sell your own work that you make on your free time and to keep the rights to the projects that you make by yourself that sounds like that should be a given but you would be surprised how strict some of these contracts can be when big companies they want to own everything if you do not just during work but even on your free time so there's something that you definitely definitely should be mindful of the hardest thing for me in this video to talk about and I have tried to make this voice over for five times now and I always say but it's because it's really hard to talk about the way that doing these dark and violent projects affected me in many ways I would have for example reference material of car accidents that are terribly horrific looking and I would have them on my second screen and I would use them as a reference for example when working on some big games and stuff that also the whole world environment and culture was kind of directed towards certain type of aesthetic and I remember when I was younger there was this CG Society that I think still exists and when you went to the main page you would see this kind of like overview of what the whole entertainment industry of concept art is and what is the look that you should be aiming for and they all do this kind of similar style I mean of course there are great and amazing artists working in all industries and just talking about if we lump them all together and have them as tiny thumbnails filling the entire screen and then you - I'm out then I could kind of see that like there is a look here that I'm expected to hear and I realized very slowly that my look is not that look and this is also the reason why I don't have an art station account even so far I might have some day but as of today I still don't have one because if I open art station and I look at the main page I think that is the same look that used to be in CG society and concept art of org previously and I think it's presenting this look that this is what good concept art looks like and this is the aesthetic and this is what those kind of characters and this is how you paint environments I'm not saying that there's anything wrong with those paintings but I refuse to visit a page that tells me that this look is the right way to do things every time because I know that subconsciously over time it would affect me and it would make me compare my own work to that stuff and I don't think I'm part of that crowd and I'm saying this as something that I'm annoyed by I think it's completely fine that that art is serving the public that is made for that's great but there's absolutely nothing wrong with that but at the same time I have noticed that I don't want to be doing that look anymore I'm undone I have done my dark times and now it's time for colorful stuff I can't imagine any game where some producer would have called me and said that can you please make a impudent building and then the sky is just exploding with pink with cherry blossom trees surrounding it this would have been like winning a lottery for me eight years ago but just as unlikely it's just not those projects were unfortunately or fortunately I don't really regret having the experience of like doing different styles because I think it's that experience that has taught me to be flexible with my style to learn styles just like trying on a pair of new jeans that you don't have to take it seriously and even if you change your style as an artist you can still do different things and you can have many styles and still be completely comfortable in all of them you don't need to work on one style your entire life to be good at it you have time to be comfortable doing many styles and I'm not the only artist who does this by the way but there are many many many artists who want to change the way that they do paintings and that's completely funded and sometimes changing things it's just more enjoyable for me honestly when doing a painting like this to me personally what is the most challenging is getting the sharp lines in the right places and having that template definitely helps here but I also want to make sure that I'm not over relying on the template itself because it's a very generic template and it's meant to give freedom by not giving away too much detail so I'm having the template on a separate multiply layer and it is set at very very low opacity because the opacity of the lineart layer is so low it forces me to paint the necessary detail in a very sharp way where the viewer needs that extra clarity to know where the lines are happening and that is the most challenging aspect of this because it's a very time-consuming process but I believe that when I'm doing it by hand like this and when I'm doing it with color and not just with lines that helps those elements that are repeating or just straight-up copy in the house look vivid and interesting throughout the building because the windows they are all the same window they're the exact same copy it's just in different places but I am using different variations of that blue hue and the light is hitting the windows differently so that's the only thing that is creating this movement for the eye to travel through the building and see the visual interest and visual appeal there at this stage I'm also noticing that my initial thought for what these trees on the Left should be I have modified that quite a lot because I have noticed that the house needs quite a lot of detail to hold up the entire piece because it's right in the center of it so that's why I am choosing not to add too much detail to these trees and this foliage because they are right at the corner of the image and I never want to have my surface details aligning with the corner of the painting because somehow I'm always trying to say to the viewer that the painting is over here you need to go back to the center to see where the actual action is happening when it comes to painting this kind of more loose and free style I always think that my biggest turning point was doing this painting that is called ever since that the horses have been happier and I think that was at the lowest point when I was feeling completely miserable and I thought that even when I was doing I technically impressive thesis that were epic enough to impress the producers I just felt like I'm not happy I don't like painting anymore and then I did this painting and it is so crazy I mean one of those horses has three by five if you don't notice and I just felt so excited that I created this piece because it's so free and I had so much fun doing it and it's true that painting that I kind of found the joy back into painting and I understood that it's more important to make myself happier before trying to impress other people because I was trying to kind of look for approval from other people to be an artist and have the permission to paint and so on and I really needed my own permission and I didn't know the things that make me happy and I didn't know what it is about painting that I enjoy and creativity was taking a back seat because honestly I was not allowing it for it to be in it's really important to give space for your creativity in the process otherwise it will just not enter the scene at all for this painting my main criteria that I wanted to achieve was I want to have beam colors and I want to have these trees and there has to be a house that's it that's not too straight and the reason why I'm leaving so much free space here because I know that I need to have these two things but for creativity to work with me I need to have something to give to my creativity to kind of lure it into the picture and I'm giving my creativity all this freedom to come up with different ideas of how to do the painting and that way I can kind of like trap it inside this process and kind of play with me but if I try to tell my creativity every single detail how it needs to be in the piece like I'm sure it's not stupid it knows that if I don't let it work it won't because I need it and I need to kind of show that in the process that I need my creativity and I'm making actively making room for it and space for it to be creative and I let it have a say in this process because it's not just my painting it's both of our paintings I am kind of just slapping on the paint here but my creativity is the one that is coming up with all the cool ideas and I try not to get in the way with the best of my ability by the way you probably noticed that I haven't painted the sky before at this point at all and the reason for this is because I'm quite confident when it comes to painting skies I love painting clouds and I don't have anxiety about the fact that I don't know what to do with the sky I know this might sound cocky but it's because I enjoy painting clouds so much I'm just like super excited to paint them so having this house with all the sharp edges that is hard to work on part for me in this painting so I wanted to leave all of the sky as the last thing in this painting because I want to have something super fun to look forward to and I always knew that I am going to make the sky absolutely explode with this bright pink and salmon colors and that's why the lower half of the entire building even though it's taking up a lot of room in the piece if there's not that much high contrast d they're there because I want to leave room for this sky and the sky is the thing that is going to kind of bring all these elements together and it's going to make the cold things in the lower half of their they need be balanced with these warmer things because that's where the light is hitting it and I'm going to be doing so many different color adjustments to get this balance right but no matter how big is that is that is the most fun part of this entire piece Isis I can not get enough of this whole process this sort of glowing parts that you see me flashing on the painting it's an additive layer that has few pink brushstrokes that are processed with a very strong Gaussian blur and that creates this sort of light gradient glow effect but the only way and I want to be very clear here how this works the only way I can make this work is by painting in a limited saturation level when it comes to all of the previous painting that you have seen thus far in this painting I'm very careful of not going overboard with the saturation because when I use this close at the end and I always knew that I am going to use them at this phase if the saturation is too high and I add this close on top that will blow out those areas that are too saturated into these ones of like highly saturated color that just looks terrible so I need to be conscious of leaving enough editing room so there can be a soft gradient where the saturation moves from zero saturation to like full-on like the last of color that will brighten up these areas that are kind of dull looking so far even these clothes in the windows they are kind of low saturation because I am adding these additive layers on top of them to add more of these live effects and then I'm adjusting them constantly with you and saturation multiple times to make sure that the saturation doesn't go overboard and that all the hues are building up to this visual impact of a different light hitting different parts of the image all the time the additive layer that I sometimes flash on that is not a well-thought-out element that is going to be in the final piece and because of the resolution of this piece sometimes I even have to delete that layer completely and then I move on to a duplication of the file and work with the more important layers that is just a stand-in additive layer that I am using to check the colors if they are going to saturated and my idea for the painting which is this close blasting Proteas like final structural details of the building are gonna show the right way but I'm not leaving that as just a guess I need to test that in action a few times so that's why I have this test layer that I sometimes press on and see how it's going to look but if it's getting in the way of me painting and I need that extra layer for constructing the more essential parts of the image then I deleted because it's one of those final touches but I can add very easily it's not a time-consuming process to add the glove part of the reason why this part of the painting feels so exciting to me is because the sky is not a minor player in this image it's kind of a big part of the whole emotion that is teaming up in this piece and seeing it at the end is a complete surprise to me I didn't know that this would happen and I'm super glad that it's coming along so nicely I mean sure I said earlier that I'm quite confident in any clouds yeah but still I'm just like super excited about the way that this looks by the way if somebody out there things that I just like maybe a lot of my paintings less then I would say that maybe you should love your paintings more if anybody thinks that like it's somehow required to have this sort of like self-loathing phase in your artistic career where you hate everything you make because you need to do better all the time and that self-loathing is kind of forcing you to become a better artist I have to say that I'm here from the future to tell that I went through the whole self hatred phase and it didn't help me at all to be a better painter and you could just like skip all of that suffering and get to the fun part and enjoy the cool stuff that you are making it's fine and I promise you that this will make the process of painting thousands of paintings and getting better that way so much more enjoyable and honestly nobody's gonna come to your house and give you a permission to enjoy painting and like your own paintings so you might as well do that for yourself or if you need someone else's permission you have my permission to do it like your pieces it's fine that won't like curb your progress you will still want to get better you that's just the nature of being an artist that you will always want to explore new ways of making things and you can't help it but learn better ways to do the same things we learn faster ways to paint and you will find more efficient ways to communicate visual impact in your pieces I have full faith in this and then in the last days by the way I'm adding the same feeling that I completely forgot that exists if somebody asks me what that horizontal beam is at the balcony I have no idea maybe there's some like water or electricity running through that but there's a line I have no idea I tweaked pretty much every single layer of these clouds multiple times and I mean like dozens of times just to make sure that I am absolutely melting every possibility for visual appeal in the sky and it's just one of those moments where if you are walking by this house you would I hope would look up and say like wow look at the clouds the sky is looking right today because I noticed that when I'm working around my friends sometimes they don't notice the sky and it feels like I'm always the one that is always looking at what is having at the sky there's like cool stuff happening there and if you just pay attention to it when you're painting you can kind of like freak all those things from your visual library and kind of relive the awesome moments when you have a nice weather especially when it's like dark and raining outside then you can always paint so that makes life more enjoyable right and adding like one more layer of clothes to these clouds by adding this sort of like warmer tone and that is featured at the top of the painting area because I wanted to look like the light is being funneled through these like massive clouds and it's not hitting every area evenly and now when I have enough information I can add that glow to the horizon I'm erasing it most of it away just to give more volume to this building and more mass to these trees and the hue and saturation of this additive layer it's very dark because only the lightest areas are gonna show so if I adjust it to almost black it's only going to affect the darkest areas and as always there is no black in my painting that is just dark colors of purple here I don't think adding black works in paintings like this and often it seems to kind of kill the vibrancy so I just try to avoid it it's easier in the end I'm adding this one more color adjustment to the entire painting by using the curves and I'm doing this on a duplicated layer and after adjusting the hues this way I'm setting that layer to only hue because I don't want it affecting the luminosity and the values of the painting because I have worked so hard on those it's just a layer that is going to tweak the huge in depending slightly to kind of unify everything together [Music] and that's the pink painting thanks for watching this video I'm Nico and I hope you go and paint with whatever colors you feel like using today and I will see you in the next video bye [Music]

Channel: angrymikko

Views: 1,340,353

Keywords: procreate, procreate tutorial, full painting process, procreate tips, procreate walkthrough, landscape painting, art tutorial, illustration tutorial, ipad art, procreate brushes, how to paint backgrounds, background art, background painting tutorial, landscape painting walkthrough, art tutorials, painting scenery, background drawing, art tips for beginners, ipad painting, Painting a House procreate, art, painting tutorial, art lesson, painting clouds

Id: nlPXM1JmzhI

Length: 30min 52sec (1852 seconds)

Published: Mon May 11 2020