21-Draw-Illustrators-Guidebook-vol-2-ebook-(2021)

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PROCREATE INTERFACEActionsSelectionBrushSmudgeColorAdjustmentsMove andTransformEraserLayersBrushSizeBrushOpacityUndoandRedoDIGITAL DRAWING5
and hold on any of these points or selectDistort in the menu, you can skew theimage. To move your image, simply tapanywhere on the canvas and drag withone finger. Tapping with one finger nextto your canvas will slightly nudge theimage in that direction.To Zoom In/Out/Rotate your image,pinch two fingers together and toenlarge expand two fingers apart. Onceyou’re happy with the size and positionof your image, tap the Move/Transformtool icon on the top left toolbar toconfirm. If you want to move only apiece of your image, use the Selectiontool to select the area you want tomove, then tap the Move/Transformtool. Be careful though! If you move yourimage outside the canvas boundary andconfirm, you’ll lose any part of the imageoutside the canvas boundary. If youmove the image again, that piece willbe gone! Keep in mind you can alwaysmove an image after you’ve imported itby tapping the Move/Transform tool.THE BASICS OF USING LAYERSPlace your second mood boardimage the same way as the first. Youmay notice when you move the newimage over the first it appears on top.Procreate, like most digital imagesoftware, uses Layers. Layers are oneof the largest benefits to working withdigital drawing software. Working onone layer does not affect the layersbelow or above, so you’re free to addbrush strokes and experiment withoutworrying about messing up the workyou’ve already done. When you importa new image, it is always placed on alayer above the current one.ACTIONS GUIDENAME WHAT IT DOES WHERE TO FIND ITZoom In/Out/RotateUndoRedoCut/Copy/Paste MenuCropFlip CanvasHorizontallyShare ImageAdjusts the viewof the canvas.Undo yourprevious action.Redo an actionyou chose to undo.Allows you to cut,copy, and pasteselections.Adjusts canvasarea and deleteseverything outsideof the selection.Flips your canvashorizontally soyou can get a freshperspective.Exports yourartwork as variousfile types.LAYERS GUIDEPinch and expand with2 fingers to zoom in/out. Rotate 2 fingers torotate canvas.Top arrow on side panelor tap with 2 fingers.Bottom arrow on sidepanel or tap 3 fingers.Slide down with 3fingers.Actions > Canvas > Crop& Resize.Actions > Canvas > FlipCanvas Horizontally ORQuick Menu on sidebar(change in settings).Actions > Share > SelectFile Type.NAME WHAT IT DOES WHERE TO FIND ITNew LayerMove LayerDuplicateLayerMergeDownHide LayerDelete LayerCreates a newlayer above thecurrent one.Move a layerabove or belowanother layer.Create a copy of alayer.Merges currentlayer and the onebelow it into onelayer.Allows you to hidea layer from viewwithout deleting it.Deletes theselected layer.Layers > + symbol.Tap, hold, and drag thelayer you want to move.Swipe left on the layer.Layers > Tap Layer >Merge Down.Uncheck the checkboxto the left of the layer.Check again to make itvisible.Swipe left on the layer.6 21DRAW
Page 1 and 2: VOLUME2
Page 3 and 4: Published in Sweden, by 21 Solution
Page 5 and 6: For beginners, students, and master
Page 7 and 8: INTRODUCTIONThank you for purchasin
Page 10 and 11: 1DIGITAL DRAWINGUsing ProcreateERIK
Page 12 and 13: stored on your device, simply tap t
Page 16 and 17: To view your layers, bring up the L
Page 18 and 19: but don’t pick up your pencil for
Page 20 and 21: DIGITAL DRAWING11
Page 22 and 23: ROUGH SKETCH FIRST PASSROUGH SKETCH
Page 24 and 25: FINAL LINES AFTER ADJUSTMENTS1SILHO
Page 26 and 27: and Color Balance adjustment tools.
Page 28 and 29: ORGANIZING YOUR LAYERS12345678DIGIT
Page 30 and 31: BEFORE CLEAN UPAFTER CLEAN UPDIGITA
Page 32 and 33: After you have a good idea of where
Page 34 and 35: LESSON 7: FINISHING UPIn this lesso
Page 36 and 37: DIGITAL DRAWING STEP BY STEPDIGITAL
Page 38 and 39: BEFORE AND AFTER FINAL ADJUSTMENTSD
Page 40 and 41: 2FUNDAMENTALS OFCHARACTER DESIGNRAN
Page 42 and 43: Good character designrequires plann
Page 44 and 45: SIMPLIFICATION AND EXAGGERATIONStyl
Page 46 and 47: Every aspect of acharacter’s desi
Page 48 and 49: “The Everyman” or “Regular”
Page 50 and 51: “The Magician”Visionary, Unconv
Page 52 and 53: IT’S ALL ABOUT THE PROCESSWhen a
Page 54 and 55: Step 5: Value and shadingStep 7: Fi
Page 56 and 57: MODEL SHEETSCharacter model sheets
Page 58: LEARN MORE ONLINE: 21-DRAW.COMLearn
Page 61 and 62: DRAWING FEMALE CHARACTERSWITH MEIKE
Page 63 and 64: If I want to print my art ona large
Page 65 and 66:
IMPORTING REFERENCESTo place your s
Page 67 and 68:
SIMPLIFIED SKELETON TECHNIQUEI star
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CHOOSING COLOR SCHEMESCOLOR THEORY
Page 71 and 72:
COLOR PROPERTIES (HUE, TINT,TONE, A
Page 73 and 74:
Tap and holdthen movearound toselec
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way I can easily adjust the color o
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layer is alpha locked and the backg
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I use the basecolor, make ita bit d
Page 81 and 82:
BACKGROUNDLast but not least, we ne
Page 84 and 85:
4STYLIZED FIGUREDRAWINGRENÉ CÓRDO
Page 86 and 87:
and other simple shapes to build ea
Page 88 and 89:
CHARACTER DESIGNAfter practicing an
Page 90 and 91:
PRO TIP:I sketch my basestructure u
Page 92 and 93:
Creating perspective and volume cor
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You continue using the same process
Page 96 and 97:
CHARACTER DEVELOPMENTFor this examp
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STYLIZED FIGURE DRAWING89
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Page 102 and 103:
Page 104 and 105:
Page 106 and 107:
CHARACTER EXERCISELet’s do an exe
Page 108:
QUICK SKETCHESThe previous page has
Page 111 and 112:
HOW TO BRING YOUR CHARACTERS TO LIF
Page 113 and 114:
However, there is a big difference
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HOW TO DRAW EYES: STEP 2Now that yo
Page 117 and 118:
EYE EXERCISES TO PRACTICEThe follow
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FACIAL EXPRESSIONSHow are you able
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EXAMPLES OF FACIAL EXPRESSIONSHere
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POSING YOUR CHARACTERSThe ability t
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DRAWING THE HUMAN BODYThere are var
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EXAMPLES OF POSINGWhat I love about
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6CHARACTER DRIVENILLUSTRATIONSKENNE
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For this piece, I play around with
Page 134 and 135:
Running fromghost/monster’90sClot
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THUMBNAILS—CRAFTING YOUR STORY MO
Page 138 and 139:
I also play around with tone andlig
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FINALCHOSENDIRECTIONI choose a view
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LINES OFACTIONbrandishing a hockey
Page 144 and 145:
MOOD—SELLING THE IDEA THROUGHLIGH
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76804320THE BLOCK IN—STARTING THE
Page 148 and 149:
CHARACTER DRIVEN ILLUSTRATIONS139
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One thing to note—it is important
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LOCALCOLORHARD LIGHTSHADOW LAYERWIN
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the environment. This process appli
Page 156 and 157:
I tweak the ghost a bit so his tona
Page 158 and 159:
7MASTERING LIGHTINGAND SHADINGAVELI
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tones contrasting on his face, the
Page 162 and 163:
In the image at right, the mainligh
Page 164 and 165:
In this film clip from Marriage Sto
Page 166 and 167:
TOOLS AND TECHNIQUESMY MAIN BRUSHES
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ALPHA LOCK: Activate it by swiping
Page 170 and 171:
light are clearly delineated, eveni
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In the above image, the characterwi
Page 174 and 175:
This girl is like “don’t evenda
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12Gather a bunch of imagesso you ca
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4Identify the different light sourc
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CONCLUSIONI hope you’ve learned s
Page 183 and 184:
KENNETH ANDERSONCHARACTER DESIGNERI
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RENÉ CÓRDOVACHARACTER DESIGNERCOM
Page 187 and 188:
MEIKE SCHNEIDER3D ARTISTILLUSTRATOR
Page 189 and 190:
ERIKA WISEMANDIGITAL ARTISTILLUSTRA
Page 191 and 192:
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