HOW TO PAINT WAVES - iPad painting tutorial in Procreate

okay on today's tutorial i'm going to be focused on how to paint waves obviously i'm doing an ipad painting tutorial and the app i'm using is procreate so if you want to follow along exactly with the settings that i'm using myself i've opened an a4 canvas as a default canvas size i'm going to be using a soft airbrush pretty much throughout if i do change then i'll let you know and in terms of the colors i've created a color palette that's really quite simple we've only got six colors i'm going to put the codes down in the description but you can also follow the link that's down in the description it'll take you to my patreon page in which you can download them for free you don't need to be a patron just follow the link and you can just download it if you have any problems with that and all you need to do is make a note of the codes either in the description here or on that link and then you can go to this section it's called the hexadecimal codes type them in press enter and you can drag them across and construct your own color palette yourself hopefully you'd be really pleased with the results after you've had a go at following the tutorial if you are please make sure to post them on my facebook page or my instagram if you're going to post on instagram make sure to tag me the descriptions for both of those is down in the description to this video okay so we're going to get started so on our a4 canvas and our soft airbrush now if you notice there are two soft airbrushes here so within the airbrushing we have a soft airbrush at the top and we have just what's called a soft brush here i do generally call it an airbrush but technically it is the soft brush within the airbrushing so make sure you go for this it allows you to go from a really small brush up to an incredibly large one as well whereas the other one really doesn't have as great a range it stops around that size even at 100 so i'm gonna make sure we're on the soft brush within the airbrushing first thing we're going to do my first layer is go to my colors here now i've got a color that is here and it's not quite white it's almost but it's just a little bit of an off-white and i think it's a nicer way to start on our background to just fill that area so you literally once you've selected the color you drag it from that corner out into your canvas and it will fill that layer so i've gone to my layers you can see it's filled that layer completely so that's going to give us a general kind of warm white color and then we can start doing the details on top of that so on our next layer so this is layer two that i've just created i'm gonna go along to our next colors before i do that actually i'm just going to show you where the colors are based you can see that that first white is a warm color it's almost completely white really but it's just got a hint of that warmth here so just in case you you weren't able to use the hexadecimal codes or using different program then it might be useful just to see the color disc when i start clicking to the different colors so the second color along we're going to use now the way i'm going to use this color is that i'm going to use it in a fill method the same way i did the first layer but i'm going to only select a certain area so what i want to do is go on to my selection tool go along to the rectangle part of that and i want to click and drag for the section that i want to fill within so you can see it's got an area at the top that has lines to show that i've not selected that area but we have the remainder of the canvas open and we can actually add information to the area so now on this color that i've selected i can take that color and i can drag that color into that area i can deselect the selection now this is going to give me a little bit of a difference between the sky at the top and then the water for some parts of the the actual waves in this ocean anyway next we're going to do with this layer is we're going to blur it out because we've got a very sharp edge there and we're probably not really wanting to see that so what i'm going to do is i'm going to slide that along just so we start to lose that sharp edge and you can take it to about 30 something like that now it's going to be quite subtle at this stage but there is a lighter band at the top and then the rest of it is going to be more of a blue color and that's exactly what we need next thing i'm going to do is create another layer and i'm going to move along my colors in fact i'm going to go for a dark color at the top i'm going to go to the middle color and what i'm going to do on this layer is i'm going to turn the size of the brush to about 10 i'm going to turn up to 100 opacity again i'm still on the soft brush and i'm going to choose an area where perhaps i'm going to just have a waves of rolling in like that now you can double tap you can tap with two fingers to get rid of it if you're not entirely happy with the curve of it but it just allows you then to place somewhere lower than that horizon line because we're going to imagine that that transition there although it's blurred out is the horizon line so we're going to bring an area down here in which we're going to have the top of a rolling part of the wave is i'm just going to imagine there's something of a rolling area like this begin to soften it down i'm pressing on a little bit more lightly i've still got it on 100 but i'm allowing some texture to start to creep in i'm just going to soften it downwards a little bit i'm not too bothered about it breaking up near the bottom because we're going to have a lot more texture down in that area anyway so it isn't really a problem now looking at it now you need to bait this in mind when you're looking at yours too i feel like the the top of my wave is a little bit too close to where i want the horizon line to be it's not a problem all you need to do is go to your transformation area if you just click it properly and you can just move it downwards until it's more in a position where you think it's more appropriate so i feel it'd be better about that hopefully you'll be able to pick up on camera now we have a slightly lighter section here a slightly darker blue there but not much and then we've got this darker blue in the foreground what we're going to do is we're going to go to our layer 2 which was where the very light blue was and i'm going to go to our lightest color which is this one i'm going to start adding some texture and some waves within this section as well so what i need to do is turn the size of my brush down i'm going to turn it down to around two percent i'll just turn the opacity down a little bit to about 70 yeah about 70 would do the trick we're going to start adding some texture in here so now that i've just used the color from up there and i've gone over it in this area you'll notice that it is actually quite noticeable so this area is a lot darker than that area there but i'm going to use this actually a little bit more softly so i'm going to turn it down to 50 in fact so now as i go over it you can see it it's just not as dramatic which is what we need at this point so what i'm going to do is i'm going to start using that brush in a left to right motion in fact i'm going to just create another layer on top of everything just for demonstration purposes i'm going to delete this after i've shown you what exactly it is i'm doing but i'm just starting to do movements left and right like that i'm allowing it to leave gaps the gaps are really important but in essence i'm allowing it to kind of rock backwards and forwards so i'm creating that kind of a shape it's like a really really really stretched out kind of smile shape and it's okay if they cross over each other that's what i want to happen and i also want to leave some areas where there are gaps now it looks scruffy in this area but we're not doing it in that area we're going to do it in the background so but just get rid of that layer that i created just for the demonstration purposes so we don't want that layer at all in fact we're going to delete it if you remember i was wanting to affect that layer which was layer two so i'll go back to that layer and i'll continue adding some of those waves in here so i'm just like i say rocking it backwards and forwards allowing some of the gaps to remain they're going to be really useful for helping to create that effect sometimes i'm pressing on more lightly [Music] sometimes i'm pressing on a bit more forcefully when we get further away what i suggest is that you do the same thing but you do it slightly smaller so i'm just going to stick with this area first i'll go all the way across and then i'll show you the next stage so we'll concentrate on this area start to lose some bigger gaps as it approaches this area i recommend leaving some more obvious gaps between our shapes we can always go back into it and add some gaps artificially by using one of the darker colours so to begin with just allow yourself to work quite freely don't get too precious about it really just start to create some of those textures again that rocking motion all the way across we're gonna just imagine there's a band there that i'm going to do all in the same way and then we'll change the size of the brush and we'll create a sense that the smaller waves in the distance now these aren't really waves i mean railways is the wrong word these are just ripples in this section [Music] but you get the idea so i'm almost allowing some bands of darker tone to creep in in areas too okay so we've got a whole section now that's pretty much done all the way across so i'm going to change the size of my brush i'm going to put it down to one percent but it's at the top end of one percent because i could put it all the way down to the very bottom of the slider and there's a big difference between one percent there and then when i slide it up you'll see it's just changed over to two percent now if it goes slightly down it's now much bigger there you can see the slider isn't at the very bottom so there's a difference between the bottom or one percent and the top end of one percent and i'm going to do the next band of slightly smaller slightly thinner marks as it goes across so they're not only going to be thinner lines but you're going to have to do them slightly closer together as well so that means that the gaps are going to get smaller but the actual wave structure is smaller too so i'm going to do another band now to cut across here the same effect you're going to notice it a little bit less as it gets closer towards our horizon point so you can probably hear me tapping so you don't need to do it too slowly you can work quite roughly just remember to leave some gaps i'm doing a little bit of a band where they're all joined together here but then i'm going to start another line perhaps maybe they merge together at certain points there's all sorts of ways that you can approach this but the general effect is that the lines are getting thinner as they go away and the gaps are getting smaller and probably closer together as well but like i say you might get a general sense that there's bands there's lines of shadow and there's bands of light so it further encourages the idea that there are ripples or waves that go off into the distance now i'm not going to zoom in for this tutorial i'm going to do it all zoomed out in this way so it fills the a4 or fills the screen of the ipad but hopefully it will create a good effect without me having to zoom in really now you can see in the distance i'm really starting to tighten up in fact i'm always forgetting that shape i'm just doing a broken texture in the background a little bit more and you won't really notice it once it gets to around this point because i'm actually using the color up here so if i was to add the color up there you won't see it at all so again in this middle area i'm just starting to try and do that rocking motion again i feel like it's starting to move backwards again i'm going to reduce the size of the rocking motion make a really small version of the same thing now i'm going to perhaps do quite a few of this type of tutorial i've seen various different people either do full-on paintings or tutorials also online a really good example of that is the artist and youtuber mural joe he uses traditional materials but he's done some really good versions of rippled water so i highly recommend his tutorials but there's lots of artists out there that are doing similar types of things so make sure to look around find other examples okay so like i was saying before i'm allowing the sense that there are bands so i noticed there's a dark section that cuts through here and i look quite like that so i'm going to allow that to stay to a certain extent if you do feel that they're too noticeable then break them up a little bit more quite easy to do really so you can create little peaks in areas so although initially we're looking for this type of shape obviously you're going to get areas where really what we want is like a ripple in the waves so they peak like this so they come together and they create a peak in the in the water so initially we weren't concerned about that but as you now start to fill it all in and they're all joined together perhaps what you can do is just pick out one or two of those little peaks to stand up and stick out a little bit more but don't go crazy with it don't go too far with it because really we still want the effect to be subtle in the background but you can just pick out one or two of those little peaks and it'll probably help the overall effect like it's a bit more disturbed in the distance like it is actual waves and ripples okay so we've created a general texture and effect for the background now i'm well aware that on camera that's going to appear quite subtle but that's fine we've got other colors to actually play with so we've got the other end of the spectrum here not really a spectrum we've got the other end of our lighter colors now we're using a little bit of a dull color here and i think it will help just separate some of the background features from the foreground features so what i'm going to do with this color here now is i'm just going to use it very subtly in areas just to pick out one or two of these bigger shapes now if it's got a bigger gap it probably indicates that it's a slightly bigger ripple in the water so maybe it justifies having a slightly darker tone where it's casting more of a shadow now i would only really recommend using this predominantly in this bottom section remember we had three two sections didn't we at least so we have this first section we did here i would use this color mainly to just pick out slightly and again i'm only on one percent and around the 50 opacity so you don't need to worry about the pencil size or the brush size or the opacity if i do change it i will let you know so we're just starting to pick out a few areas here as it gets closer to this wave it's going more to the foreground you're going to notice a little bit more contrast between the light and dark areas so just like we had peaks with the white the actual darker tones seem to create that kind of shape as well so i'm just gonna go over to this so it's still at the same level here but i'm gonna move over into this part of the canvas and i found another gap here so i'm going to shade that in slightly more then maybe another section slightly underneath it maybe we can just start to join it down into this section so it almost meets this wave like that okay so the next stage in this painting we may we'll go back to that and add some more refinement to it later but the next stage is we're going to go back up to our layer three in fact i think i'd prefer to create another layer on top for this i'm going to go to our top colors now and i'm going to pick this lighter color so we've already used this middle color for this section here but we're going to go to the slightly lighter version we're going to start to pick out on this top edge we're going to do the same idea but i'm taking a little longer to actually create this effect i don't really want to be going at it quite a slap dash you are going to notice this a lot more so we're going to take our time with that a little bit it's still going to be the same effect it's just that you want to be a little bit more careful about where you actually had it so i'm doing the same type of movement i'm doing it again at 50 opacity again at the top end of one percent but i'm just starting to press really lightly now if you find that by pressing lightly you're not getting very much on your actual screen what i recommend is you go to your settings you go to your preferences you go to your edit pressure curve and you adjust it so it resembles more of this shape now if you reset it this is the default setting for it it means that really what you have to do is press on quite hard for the the brush to actually start doing something so if you start to change the beginning of that curve especially maybe flatten out a bit there what's basically happening is that you don't have to press on as hard to actually get it to paint so if i show you when it's at the default and i'm pressing on lightly practically nothing is happening i have to start pressing on quite a bit for something to happen compare that after i've changed it so i do lightly at the beginning of this and it really doesn't take that much at all now so almost letting the pressure of the pencil do something and then i can take it all the way to the extreme as well it's just a more intuitive it's a nicer feel back to this shape that we're creating here so we're creating layers and layers and layers of ripples so they can overlap they can crash into each other we want to make sure that there are gaps and we also want to make sure that it's not too uniform it has to have a randomness to it otherwise it isn't going to be convincing so again we're still keeping that general motion isn't like that it's all going to be in that motion but obviously we're a lot smaller than that so we've got almost a summit of a ripple here so you might want to round some of these shapes off now many of my tutorials do involve texture and in all honesty it's one of the most difficult things to actually do and to actually teach it is going to be something you may struggle with now i'm giving you this tutorial to show you how it can be constructed and hopefully if you if you follow along and you have a go you'll get the general effect it might be that it doesn't look entirely natural by the end of your version of it but don't be too disheartened it's the way that things go in art it takes time it takes experience and more than anything i think that it it takes an eye for seeing what looks right and what doesn't look right so stick with it it doesn't go right first time it's okay doesn't mean that you'll never get it it just means that you need to perhaps observe more water try out different types of water keep looking at reference photographs perhaps because although i'm telling you the kind of shapes that you'll need it might be useful to actually look at an image as well i think it often stops you feeling too frustrated when you've got something concrete to actually copy from so i might get some areas where this tone seems to really band together and you almost don't really notice much of that darker tone underneath it might be just like we had here we had bands of white where it all seemed to join together we can also take that effect where we have lots of these ripples and we also get a band it's not going to go straight in a straight line for this you'll find much more this kind of shapes but it might be a whole cluster of those little ripples that join together or a band that kind of brings it out in this kind of a shape again i'm pressing on quite lightly for this take your time build it up gradually it really is the key to doing this kind of thing well texture especially if you press on too much with it you're not going to get any subtleties you're not going to get a lot of texture in fact it's a really quick way to flatten something out and really make it look too basic is to just press on too much to build it up more gradually you're more likely to get the types of effect that you actually want so again all my gestures are this type of gesture i'm having some small broken bits in some of the gaps they can cluster together they can form little peaks here and there i get some sections that are all joined together and make one big [Music] shape so we're made up of smaller shapes you might get like i say a big dip coming in here you might have another big shape that seems to form there's a little bit like the concept of fractal shapes or images where you have little versions and then you almost go to a bigger scale and you're still getting the same thing but it's just another level of magnitude of scale so i'm trying to soften some of the edge of this i may redefine it at the same time but we're trying to take some of these edge because it's almost a rolling out so what's going to happen is an area of water that is rolling is the top edge is going to have more close together texture just on the top edge and then as it comes down further maybe the gaps start to stretch out a little bit more but as it goes over that top of that curve then they're going to appear closer together and maybe more stretched out like i said as it comes down here maybe our gaps start to get bigger keep moving across the canvas don't get too bogged down in one area you need to sit back look at the overall effect see whether you're happy with it then move back into it move around the canvas try different areas sometimes you just need to reduce the size or zoom out a little bit so you can work right up to the edge again move across the canvas okay i'm going to come back to using that color but i think what i'd like to do is perhaps create another layer i'm going to move to this darkest of colors i'm going to start using this now in some of the same areas just to start picking out some of the real dark shapes you go back into some of these gaps now and really start to pick them out with a much darker tone so start to look at some of these random gaps you don't want them uniform as soon as you start to notice it locking into a pattern then with a lot of textures that's not really what you want so you don't want it to be so repetitive and uniform that you see you notice a pattern but you want to make sure that perhaps it has a consistency so it's obviously all parts of the same type of effect so i'm just looking for some of the gaps and perhaps closing down the space between them as well especially at the top edge as i was describing before you're going to have a concentration of those types of shapes along that top edge now seascapes and water is something that's relatively new to me really i mean there's lots of landscapes i'll try that i haven't done before necessarily before i've done a tutorial on it but certainly i've done quite a lot of landscape so i understand some of the idea of atmospherics and how to do that but water is something that's quite new to me i've also done fire tutorials before so you can check through my playlist if you're interested in learning about candle flames lava that type of effect i'm really quite comfortable doing that but water is something that is really quite tricky and something i haven't done a lot of so for my own personal journey as an artist i think i'm going to do more of this type of tutorial maybe some scenes where it's crashing onto the shore maybe some waves where you can see the light coming through it i see lots of paintings like that and i'd quite like to to learn how to do it effectively myself so we'll go on this journey together i'll do some tutorials about that as well already a playlist of mine that is about water it's mainly just well at the moment it's got things like water droplets and things like that in it but i'm going to really concentrate on some more formations of waves and obviously seascapes as well so one thing i'm going to do is turn the sides of the brush up just a little bit we're going to put it as it just passes into three percent and just start to rough in some more of these dark textures in here maybe over here as well it's on a separate layer i may well break it up a little bit more i just feel like i need to get some more blocks in of this dark texture and then i can work in and around it now i'm going to move along to one of the brightest colors that we were using again so this very bright color about to not quite use that one i'll go to the one that's in the middle of that i'm going to stick to the same layer that i was using the dark tone on but i'm going to start just showing you how i can use that to highlight some certain areas now i'm going to turn it down against the top end of 1 keep it at the 50 and i'm just going to imagine that the sun bits here at the top of this wave especially are really picking up maybe a bright area of the sky it's quite a hazy scene that we're creating here but still generally there might be more concentration in this area of light there may be a sun back there behind all the haze and mist so it does mean that you can have a brighter section here and it's just going to pick up perhaps the top edge of this wave some of the ripples are just going to catch the light a little bit more like so so i'm going to concentrate it in this middle section so it's worthwhile just looking at some of the shapes and just try to imagine is it trying to tell you that it it wants to stick up more a little bit does it look naturally like it should be catching the light i think it's important to look at what you've actually created and try and figure out how you would imagine it would catch the light does it look big enough as a shape to be stuck up and catch the light in any way if it doesn't then don't put the light in that section you have to use a leap of imagination a little bit but it's certainly possible to look at something and say does it look like it would warrant having a highlight on the top edge of it is it sticking up enough [Music] so i'm going to use that highlight probably all the way across i am going to concentrate it a little bit more there than other other areas but i'm also going to have it going across too and all the way across this side as well so i'm going to go back to my dark tone again i'm going to continue to mix and match between those two different tones so it's okay if it goes in addition to filling in the gap so if it goes slightly over i'm pressing on lightly don't forget if it goes slightly over in places it doesn't really matter in fact if you wanted to turn the opacity down to around 25 then it allows you to do things like that without worrying quite as much about whether you're sticking on the inside of the shapes you can just generally scribble over a certain area and it's going to soften the effect of all of it so it's slightly less contrasted for some bits and then again if you wanted to further contrast it make it even more contrasting then you can go back to your light color and your dark color and really push that so we're still on the darkest color i've just turned the opacity down to 25 we continue to add texture in much the same way as we were doing before i'm going to go back to these colors at the bottom i'm going to go to this end color i'll put it up to the 50 check the size of my brush maybe just have it at the bottom under 2 and i'm going to start doing the same effect that i've done up here but i'm going to have it down here now instead so we're going to do more of this texture that's up there and it's going to blend into what we've started to create there at the top edge so again maybe position your hand in a way that is more naturally comfortable with that type of shape sometimes i find it useful to move the actual canvas around so you can actually really get to grips with that kind of emotion it's easier that way but i'm trying to show you for the sake of the tutorial so i'm going to try and attempt to stick at painting it like this so you can see these more dramatically than you did at the top but you can see it very clearly here so we're gonna have to just spend a little bit of time refining it and making sure that it works best for us but initially we're just gonna have it quite rough keep that kind of motion going in fact i might just turn it just for certain parts again it's that kind of rocking motion [Music] what i'm tempted to do in fact because i feel like we're going to have to lighten this area quite a bit is go to our third layer which was here and we're going to go to the eraser we're going to make sure on the eraser that we're on the soft brush and we're going to turn the opacity up to about 15 but we're also going to turn sort of the size of the brush up to 15 we're gonna turn the opacity down quite a lot to about 30 what i'm gonna start doing or recommend we do is just a couple of swipes not a lot just a couple to take away some of the intensity of that dark color near the bottom it's just going to make our job a little bit easier of blending the two together so then we can go back to our top layer again using the same brush and the same settings that we started it and then we can carry on again and i feel like it's going to make that transition a little bit more smoother they don't all have to be the same size you can like i was saying in terms of that fractal idea you can have some shapes that are quite big some are going to be quite small and grouped together so you can mix and match a little bit you might have some areas where it almost creates a kind of blanket area where it's all shaded in just check your pencil pressure don't be pressing too hard remember [Music] now if you feel it's too light you can always go back along your colors so we've got different colors here and we've got our top color there as well so it is going to appear a little bit lighter so we can use that in combination when it starts to come up into this area and start to join in with these bits we can use that color so it blends from the lightest tone up into this section so this is not going to be a crashing wave it's going to be like a swelling water but we're still going to get all the texture because it's quite a big swell at this very stage i mean you'll probably reach this type of point in your picture as well when you you're looking at it and it just isn't quite chilling it isn't looking right you're not happy with it and you need to know that this is a stage that almost every person goes through unless you're something that you've done hundreds of times or something you're absolutely sure about then you're going to reach a point where you're just not quite convinced that it's going to turn out correct and it it's not easy to fall into despair at that stage and just give up write it off as a failed attempt but you just got to stick with it sometimes and keep working into it and that's in all honesty that's the stage that everyone goes through and i'm i'm not quite at despair but i'm starting to look at it now and thinking it's still got a long way to go and you will probably reach that stage too but i'm going to stick at it i'm going to keep by the principles that i've done everything so far and i know that the overall effect is going to start pulling together it just takes time you can have the dark color here which is going to create areas that seem to go the opposite way so that's something you can go back into it afterwards once you start to notice these shapes have started to be created but you can kind of pretty much get to that stage by using the technique like this just simply by doing that you're in effect creating as well as that that shape when the two joined together they create a raised section just like that [Music] it's like i say you're going to get areas where it all seems to bunch together and you get a real block of that tone and that's fine but then you can always go back into it and add some slight breaks to it with your darker tones as well you could turn your opacity down even more like i was showing before with the darker tone you can turn it down for the lighter ones as well so this again is the lower pencil pressure this helps you build up the effects more gradually but it also allows you to scribble over an area to block in some lighter tones and perhaps just speed up the impact of what you're doing because clearly if you're going to do lots of little gestures like that you're looking at thousands of different brush marks which is fine if you've got the patience i do generally something i quite enjoy doing but if you want to fill in a block a little bit more quickly then you can just set it to a low opacity scribble over that area and it's just going to soften it in as if you've done hundreds of little brush marks [Music] so again i'm going to go back to my dark color and as i was showing you before i think on this top edge we're gonna have the extremes of contrast like i was trying to explain before so we're gonna have extreme light tones along the top but we're also gonna have some of the darkest tones along the top as well so it really is this top edge of this rise in the water this swell where all the real drama is is going on so as i'm starting to add this real darker tone along the top it's just starting to make me feel like it's coming together a little bit more sometimes it can feel like you're not really winning in a situation or winning with a painting until you start just doing one certain thing and then it all starts to just fall together a little bit better which is why you have to stick with it sometimes so we're doing almost the opposite of what we're doing with the white hair i'm just creating some a series of little peaks i'm looking for a visual cue so they've almost started to form as i was adding the lighter gestures in there so i'm looking for areas where a peak has started to form naturally from what i was doing before and then i can just start to fill that in a little bit as well look for areas where you're almost getting corners too because the corners are important so you can see it starts to blend in there in that shape i'm just filling it in but as it gets to that corner and perhaps lightening it it up so it fades into that bit and then maybe it comes out and it gets darker and it joins another area here and it becomes stronger in this area again we've got another shape perhaps it comes down here and it joins together with another area so a lot of details and textures just have to be teased out at this stage they're not going to be there straight away in the first pass you have to go back over them you have to just try and bring them out gradually so you can see i don't get bogged down in one particular area of the painting on the canvas i keep swapping and changing between different areas i do find that really useful it just keeps your eyes fresh stops you struggling in one area for too long allows you to just move to a different area then come back to it a moment later with a slightly fresher eye i do think that's important to flit around your canvas a little bit [Music] again we're getting just like we had white bands of tone we're gonna have some darker bands of tone as well all clumps together so again i'm also bringing out some of the shapes at the top of this swell of water i'm gonna do a mixture of this and the lighter tone to really exaggerate in fact i'll just go back onto my lighter turn again i'm using those two different colors i'm using that for the middle section predominantly i'm also using this one in aries too i'm just going on some of these peaks maybe turn the size of the brush down to the one percent again maybe move across there so we'll turn the opacity up again to about 50 it's gonna help just bring out some of these shapes here the highlights see hopefully most of these shapes would have been created at the beginning when we were using that that kind of emotion and now at this point we're probably subduing that effect a little bit and we're rounding it off in places but hopefully you'll have created that general sense of most of the shape at the beginning of that process i'm also going to use this color just to pick out some of the peaks slightly behind there if they haven't already been done i can also go back to my absolute brightest color there which is the same color as the top again i'm just going to carefully start to tease out little bits top of the peaks i think it's probably important to use this quite sparingly all right i'm going to go back to this bottom section as i was doing before we're using that color wouldn't we so i'm going to go back to that i'm going to turn the brush up to the two percent i'm going to continue adding some of these shapes i think once they've blended in more i can then go to this middle section and just start to make it make more sense so i'm going to speed through this section it's nothing that i haven't shown you already it's just the general sense of that type of a rocking motion we're just going to fill in spot some section [Music] so you can see around this section they're starting to just blend in together i was using a lighter color here for some of these colors and now i'm using these bottom colors so this one and this one is starting to blend together in this section it's not going to be the finished look because i'm going to use some of the darker tone and bring that into certain areas too [Music] so as i'm moving up here i'm pressing on even more lightly perhaps just reducing the size of my gestures so that they're not you know quite as scruffy as they look down here i don't want to have it up into this section i want them to merge together a little bit better i'm just using slightly smaller textures i'm still using roughly the same kind of shapes they're just starting to reduce in size a little bit as they start to collide together up in this section as i was saying i'm using those two colors in this middle section here so i'm going to start using this other color again now to help blend them together so i can even go over some of those shapes with this color i'm going to add more as well but just in areas i'm just gonna go over some of those areas just to help blend them together so again i'm going to move back to my dark color you can see everything i'm doing pretty much is now on this last layer there's no real need to separate it all the time the general effects that we've created where we had to do it on separate layers were all at the beginning stages and now we're just at stage where we're adding texture so you can do it all in different layers if you're a bit concerned that you might mess it up do it on different layers it just allows you to be a bit more confident that you might be happy with one area you don't want to mess it up so yeah sure add the different tones and different layers what i tend to find if i've got lots of layers going on is that i get confused and end up putting the wrong color on the wrong layer anyway so sometimes it's just easier to carry on with one layer after a certain point i'm just using this now to start to identify or to break up some of these shapes so i'm looking for opportunities just to show breaks and the tones that i've created like i've already explained i'm using mainly the dark tone for this top edge and the light tone for the top edge i'm also going to bring that dark tone just here and there for some lower sections too so want to keep it a little bit more random [Music] so maybe turn the opacity down again because it is quite dark color and it's quite intense at 50 so we'll turn it down to 25 and we're just starting to pick out some smaller shapes now so we want to start to bring some of that darker tone down a little bit more but i think in a more broken way would work better [Music] now we're going to bring some of these dark tones down a little bit further in places you just get some a small collection of shapes of ripples now there are actual brushes within procreate that you could use you can go to the elements one here and you've got an ocean type of ripple effect you can use that and in all honesty you could perhaps create some of the textures in the background using that type of brush it's not really the way i like to do things though i prefer to feel that i've actually earned the texture that i'm trying to create and i actually think you'll learn a lot more by doing something like a a really labor-intensive texture like this all manually because every time you're doing a bit more and doing a bit more you're learning what works and what doesn't because i'm trying to repeat the general effect hundreds of times here if not thousands of times and i think this is where you train your eye whereas if you're over reliant upon a brush to do the work for you then really you're not training your hand you're not training your eye to actually learn how to paint properly to a certain extent if you've got quite a complex image and really it's a small element of what you're actually working on and it's not the main point of the image then sometimes brushes can be really helpful but in an instance like this if you start to use a brush to do the work for you then i struggle to find the satisfaction in that personally i think if you're going to do a painting then it should ideally be your work and your effort and your endeavors that actually create the overall effect but that's just my take on it i know that people do love to use brushes for as much as possible but personally i prefer to feel that i've achieved the effect by my own efforts actually you're much more in control of it if you've done it all yourself you're really learning during that process so i i would quite honestly recommend you as much as possible try and do textures and effects by your own effort in your own hand i'm a trained painter traditional painter and that's where most of my experiences come from and i know there are artists uh teachers like bob ross who does a fantastic job and he teaches some different techniques that you can achieve with the brush and with the palette knife and some of those are absolutely fantastic but even even some of those techniques i do prefer to actually place the the texture there manually but this then in this case is is a really difficult effect to achieve takes practice you might struggle you might get it wrong but understand that it is difficult but it's a learning experience and that's the purpose of it and if you end up with something that you half like then that's fantastic so i'm going to turn the opacity down to about 20 to the size of the brush up and i'm just going to start adding some tone into some areas just to flatten out some of those highlights i really want to focus some of the the real drama at the top of that wave and i've just created an area now that which subdues the contrast a little bit more and i can bring that effect down into other sections perhaps turn it up a little bit more and down a little bit more to about 15 and i can really start to ramp up that effect where i'm just softening it in a little bit more i'm going to turn the size of the brush down to around two percent again probably going to leave it around 15 i think it's quite a useful percentage now for this area i'm going to continue adding some of those ripples between the gaps i want to add generally a texture down for this area so i'm doing the opposite of what was doing in other areas now so i'm actually almost creating like upward peaks and swells so rather than doing the downwards ones i'm almost creating the opposite enzyme [Music] turn the size of the brush down a little bit turn the opacity up a little bit it's about 30 and i'm going to continue just adding some more texture into this area it's all about texture this piece so unlike some of my old other tutorials where texture is an element i'm really just doubling down on texture and pretty much nothing else for this piece i have textures a nightmare for you then i can only apologize we're really really focused on it for this one not all my tutorials about texture but it is an important part of painting so we need to tackle it here and there just turning just zoomed in the opacity down a little bit more so back down to around 20 just starting to add some little bits of texture into this area i'm going to go back to my lighter colors so i use that color at the bottom here i'm going to go to this colors just a little bit lighter again and especially in this middle section i'm going to use it i'm going to turn the size of the brush up in fact about top end of two percent and i'm just going to start to use it now just to pick out some of the highlights i'll perhaps turn the opacity up a little bit more as well to about 30 i'm going to use it to pick out some of the top edge of these shapes so again we're back to the that motion i'm going to add a lot of light into this bit so i'm just going to start clumping some of that light together a little bit i'm going to get a much lighter area [Music] here [Music] so back to that rocking motion a little bit more again [Music] [Music] gonna turn the opacity up to about fifty percent and the size of the brush down to the top end of one percent just going to sharpen up that that's too small a brush we will go back into the two percent just real sharpen up some of these top edges again the highlights are really important okay so we've got a lot going on here i think the time has come to really just focus on some of the highlights in this wave specifically at this point i'm gonna go to the lightest color that we've got in our canvas gonna make sure we're on a relatively small brush again we're at the 50 opacity and we're just gonna use it to bring out some of the real bright parts of this wave as i was saying before we're gonna concentrate our contrast around this top edge so i'm just going back over some of this top edge now i'm really bringing out the light especially in this middle area i can bring it down a little bit further into our scene it's definitely at the top edge mainly but we can bring it down a little bit further too can just be picking up some highlights at the top edges here and as i was saying before it's starting to really pick up some of the top edges in this section too so it's almost like we get highlights in the top section it's really bright it picks up the top edge then it creates a shadow and then the this part that's further away from the shadow so you get shadow here and then you get back to the kind of bright tones that's in the distance again so you must bring the white especially in this middle section back into the scene so we've got one kind of break in what is otherwise a pretty consistent type of color and shape and light so even when you get like a swell like this perhaps you could add more of a highlight onto this side of it than you would that side of it so again so you get more of a bright light on this part of it and more of a shadow as it turns away because we we know the light source is here so light will fan out it means that you get light here and then you get a shadow on this side but means you might get a light here more obviously and then slightly less on this part of it not a huge amount different but just a little bit just to start to suggest that even more so again here you're gonna have more light here than perhaps you are here although not completely known on the other side of it again a little bit on the top edge here a little bit on that top edge there some more here and here you better judge how much does it need it's inside the brush down a little bit just as i'm going on this top edge of the wave i just really want to make sure i'm getting the effect that i want again i'm going to move back to my dark tone really start to focus in on perhaps some of the dark areas turn the opacity down now because it really is dark toner i want to create some areas that perhaps are more in shadow so as well as the white that i'll add at the top of this adding even more small thin bricks just at the top edge here so as i said as it rolls over you're going to get a real concentrated perhaps even turn the size of the brush down a little bit real thin areas of breaks of dark tone it's going to turn the size or rather the opacity up quite high and i'm just going to go into the dark tones and start to break some of those areas up even further so within the dark area and i'll zoom in just a little bit say within that dark area even within that you're going to get some breaks of texture so this is details within details at this point so when you've got a dark area perhaps you need to break that up into different zones as well it's a very time consuming type of venture this it's not something that you can do easily or quickly it is something that requires investment i personally find it really rewarding i hope that you've been enjoying seeing how the effect can build up it's going to turn the opacity back down again the size of the brush up a little bit more and just add a few more breaks in the texture at various points i think that really one of the few areas where you're going to have less texture is where the light is all kind of bleached out all the detail a little bit so you get slightly less texture in an area like that obviously you get less texture visible up there but in the all the other areas you really really need to focus getting as much texture and breaks and variance variation in those areas as you can stomach doing really something you could spend a long long time on okay i'm going to go back to my color up here i'm going to use that now just to add a few more highlights if i had to turn the sides of the brush down turn the opacity up a little bit i'm going to use this just to create a middle ground so it's not as light as some bits but it's just softening in so in this middle area we're getting something of a mixture between the real light tones and then some slight shadows so it's almost like you're getting the breaks but it's picking up the light from another area of the sky so it's not going to be as bright as the top bit that's getting directly from the sun perhaps but there might be this back part of the sky coming from the other direction it's just picking up in a slightly different tone so we've got this kind of blue color as well so it's very light blue but it's not as bright as the white just adding a last kind of highlight at the top edge there really is going to pick up the light from behind so we'll just go over and add our last highlights all the way along the edge okay i'm just looking back at this now the next day and there's some details that i'm not entirely happy with so what i've decided is that some of the highlights are looking a little too strong and maybe you'll want to subdue the contrast in this middle area it's good to have the contrast at the top but i feel that there's some of those strong highlights are encroaching down into this area a little bit too much so going back to my colors i'm going to use a combination of those two colors now to subdue some areas so i'll go to the second darkest color first i'll make sure i turn the size of my brush up to about seven turn the opacity down though i want it really quite low to about 10 and then i'm just going to go over this area specifically if i can zoom out a little bit just to get the effect and then maybe i'll go to my darkest color and just lightly go over some of this just to really create the sense that it's created like a shelf and there really isn't as much light hitting this part of it as there is the top section so if i just backtrack a little bit you'll see hopefully the difference between there and there and i think it helps describe it as a 3d shape better now it's up to you you might prefer with more of the highlights encroaching onto more of this area too but i personally i'm starting to see it as working better where i'm really concentrating the highlights on that top edge and maybe more down in this area as well i'm just having this bit it's almost like it's in more of a shadow and it really shuts down some of the different contrast there it's a minor adjustment but actually sometimes those last few minor adjustments that i think can can really turn a piece of work from something you're not satisfied with into something that you're much happier with one last thing i would suggest perhaps if you're going to really spend the time and get it as perfect as possible is to go onto your smudge tool check what brush you're using i would probably use the soft brush for this too so it's not going to be too harsh turn the size of the brush down similar to what you're using for the rest of the texture turn the opacity down probably to around 50 percent again and you can zoom in and because we do have areas where there are visible scribbles you can go over it and you can smooth out some of those scribbly areas the main reason we have scribbles is because i produced it in a zoomed out mode as soon as you zoom in you're going to notice those brush marks but if you want to really perfect them then you can use the smudge tool to really fine-tune the effect and you might be more pleased with the overall effect that way one last thing that perhaps you could do as well is just use that smudge tool perhaps to push the peaks in the dark areas up into little points here and there not too many but water does tend to kind of spikes at the top in quite a lot of areas if you don't feel you've done it enough then you can go back over and just increase the quantity by a small extent sometimes they do get quite big and just like mountains do you know they become more rounded but sometimes they definitely do reach a peak and a point at the top anyway i'm going to leave this tutorial here at this point do check out my other tutorials if you've enjoyed this i'm going to do more water tutorials this is the first rolling wave tutorial i've done but i intend to do quite a few more and they do appear very different depending on the environment the lighting how close up you look how far off you look there's going to be lots to explore beyond this press the bell notification if you want to make sure you are notified check out my instagram links in the description and my facebook group as well thanks very much for watching see you soon you

Channel: James Julier Art Tutorials

Views: 93,872

Keywords: Ipad painting tutorial, Apple Pencil painting tutorial, Procreate painting tutorial, How to paint a landscape, iPad Pro painting demonstration, Apple Pencil 2 Procreate painting, Digital landscape painting tutorial, Digital Bob Ross, Bob Ross on ipad, Painting on Ipad made easy, Beginners painting on iPad in Procreate, iPad art tutorial step by step, procreate made easy, iPad artist, How to paint the coast, how to paint waves, wave painting tutorial, how to paint water

Id: Rdy-Cp-Es_4

Length: 61min 1sec (3661 seconds)

Published: Sat Jul 04 2020