Procreate Cartoon Drawing Tutorial: Let's Draw a Pig...from Sketch to Finished Design!

In today's video, I'm going to show you how you can draw this cute cartoon pig from start to finish using the iPad and Procreate. It's all in real time too, so you'll see every step along the way, from the sketch process to the inks, to adding color flats, shadows, and highlights, and finally, finishing it up with a background. Like I said, all in real time, no time lapse, no edits, so if you want to follow along step by step and draw this with me, keep watching. Alright guys, so let's go ahead and draw a cartoon pig. Starting out, I'm using a 3000 by 3000, 300 dpi RGB canvas. For my brush, I'm going to be using my 9B pencil for the sketch portion of today's video. This is part of my pencil pack available for Procreate. You can download it on Gumroad, which I'll link it in the description below. And for my color palette, once again, I've got this pre-made, so you can download this for free. If you go to my website, bjdell.com, underneath the YouTube reference materials page, which I'll link that down in the description below too, you can download that, use the same colors that I'm using in today's video, and there's also a video at the top of the page that kind of walks you through how to install a palette into Procreate if you haven't done that before. So that being said, let's go ahead and jump into it. I'm just going to start out with black right now for the sketch. And I'm just going to start out using basic shapes to get the idea down. So for the head of this pig, I want it to be really big compared to the body. So we've got a big cartoony head, really small body. And so I've just got an oval here for that. And then we'll get another oval down here for the body. And then from here, for perspective, I'm going to put a center line in here so you can kind of see what I'm going for. So we'll go kind of a curved center line here and then here to kind of break that up. So you see it's got a kind of three quarters perspective. Everything that falls on the left-hand side of this line is going to be bigger than anything that falls on the right-hand side, just because of the perspective that we're using. And then now let's go ahead and work on the body down here. I think I kind of want to have his legs kind of stretched out like he's got his legs just kind of splayed there in the back. This one on the left being a little bit bigger than the one on the right. Drawing an oval here for the hoof that comes on that side, and then one over here, and then a couple of ovals here for those other legs, and a couple more ovals for those front hooves. And you'll see just really basic shapes here. So I know a lot of times artists starting out, they really want to jump in and start drawing outlines right away and really work out the drawing as they see it finished. And it's hard for them to get out of their head what they're seeing onto paper or onto the iPad screen in this case. And here just using ovals, this case being the ear over here, really helps you just kind of lay out the design. Gets everything where it needs to be so you can jump in and kind of fine-tune things later. So if you're having troubles getting the ideas from your imagination out and down and making them come to life, I really suggest kind of using basic shapes like this. So we've got these ears here, this one being on the left-hand side of the center line, so it's bigger. This one here is going to be kind of smaller and tucked behind the head as it comes down and around. So now that we've got those, let's go ahead and get the nose here, the snout. Get an oval in for that. And then let's go ahead and give him some really big eyes here. Let's get an eye over here, have the center part of that snout coming up and around. And then the other eye over here, once again, a little bit smaller because it's on the right of that center line and it's going to be tucked behind that little center piece there that comes up. Okay, so that's basically the shape of our pig. We've got to really fine-tune the details here. So that's the second portion of the sketch process that we're going to get into now. This is also where that 9B pencil comes in handy because I'm going to start coming in and going darker. And I can do it all on the same layer here. So start out here with the snout and you're going to see now, kind of making this into a triangle. So I'm not actually tracing over those initial shapes. Those are just kind of the reference as far as where I want everything. This is where I start kind of blocking in and getting the details a little bit more set. Start kind of fine-tuning things here. And I still want to keep this sketchy. So if this is the first time that you've ever watched one of my videos, this looks a little rough right now. It's going to look rough when I come in here and do this sketch, but I guarantee you, it's going to look a lot better, a lot more professional as we get further into this and down further into the tutorial doing the inks and the colors and the highlights and shadows. So just kind of stick with it because I promise it's going to look pretty cool. So you get that eye in there. For the mouth here, I think, I don't know if I want to have him have like a big smile here or maybe we'll do kind of like just like a open mouth like this, kind of like a surprise look. I think that looks kind of cool. We can do that. Bring up the chin here. Pull this cheek kind of out and around and meet that chin. Once again, you can see here going past that curve of that initial circle or that oval that we did. That, like I said, is more just for the guide of where everything's going. It's not the be all end all. I have to trace this. See here to the ear, I kind of went further out than what I had that. So I'm just going to kind of adjust that there to make it work. So far, so good. This ear in here. Once again, that ear being bigger than the other one, pull this side of the face down into the chin there, get a bigger oval here for that eye, the pupil in here kind of lined up with that other side. A little bit bigger over on this one. Looks pretty good. Do some kind of surprised eyebrows here, kind of upturned. Once again, I talked about this before, I love doing eyebrows on characters that don't necessarily have them in real life. It's one of the great things about cartooning, but eyebrows are really kind of a key point in expressions, and you can get a lot of expressions out of adding eyebrows in. So even if, like in this case, a pig doesn't have eyebrows, you can just throw them in there and use them to your advantage. So there we go. We got the head basically done. Let's go ahead and start working on the body now. I'm going to kind of start bringing this down and around, have it meet this leg down here. Pull this hoof around, same thing for this one. See, once again, going kind of quick, still keeping it rough and sketchy though. Not trying to make this the finished product by any means. Hoof in there, and pull on back around here as well. Once again, just blocking that in so it's really rough, but that's okay. It's going to look better once we go in and do our inks. I'm going to bag underneath this eye here, get some details in there coming around. All right. From here, I think I want to sit in some mud down here, so we'll pull in kind of like a little mud puddle right there. And then I eventually want to do a background, but I don't really want to sketch that in right now. So that's basically going to be our sketch. So from this point then, we're ready to go ahead and start our inks. So to begin our inks, what we're going to do first off, so we're going to come up here to our layers menu, and I'm going to make a new layer. With that created then, I'm going to come back down here to layer one. I'm going to tap the N for the blend mode, and I'm going to drop this down to about 30%. So the opacity now is lowered. Our sketch isn't as visible, and that's kind of what we're going for. I want to be able to draw on it without it being too dark, and I don't want to get distracted. I want to be able to see what I'm doing on the inks layer. So with that set now on that layer two, I'm going to come back up to my brush library, and I'm going to switch over now to my cartooning set, and I want to use the standard inker streamline. That's kind of my go-to for this type of cartooning artwork. This cartooning brush set for Procreate, once again, it's available for purchase on Gumroad, and I'll link it down in the description as well. Next up, I want to decide where's my light source coming from. So if you've watched my videos before, I've talked about this quite a bit. I like to use different thicknesses of lines, different line weights, and the best way to do that is before you even begin laying them down, decide where's your light coming from, because the lines closer to the light source are going to have a thinner line. Lines further away are going to be thicker. They're going to have a heavier line weight. So in this case, for this one, we'll have the light source coming in from this top left. So we're going to have thinner lines up and around here, down on this side, and then thicker over here. We don't want to go crazy with them, just a little bit of a difference. I see sometimes people just go super thick with the shadowed lines, and we don't want to do that, but we do want to have a little bit of variety in the line weights. So usually here, what I would do is I would start kind of on the face on the darker areas, the shadowed areas, but I think for this, because of the way this eye comes out and overlaps here, and then gets overlapped here, I think I want to start inside here first, because that eye is going to give me trouble as I start to go in here and do the inks. So I'm going to zoom in here so we can see a little bit better what I'm doing, and we'll start right here with the nose, the snout. On these inside parts, I usually like to use a little bit of a thinner line than what I'm planning on using for the outside outlines, since these are on the inside, I just need to keep those a little bit lighter as far as line weights. You can see here, though, I'm even doing kind of varied line weights in here from the outside of that to the inside, and then we'll just kind of continue bringing these lines up and around. For these tapered lines, this is why I like this brush with the pressure sensitivity of the iPad and the Apple Pencil, you can get these nice tapers. Basically, it's going to take some practice, it's just not pressing as hard when you want the taper. So if you start with the line here, just a light press, and then getting heavier as you come down. If you go backwards, it's going to be a heavy press into letting up pressure. That's basically the idea of how to get those lines. So I can get this eye in here, like that. Usually for the eyes, too, if I'm doing one like this, I usually like to have the thicker area up here at the top, it kind of simulates where the lid of the eye is. So having a thicker line there, as you kind of press through the stroke, you can get that thicker line, just like that. Letting up towards the beginning and the end to make it thinner. Pull out a line here, get kind of that bag there under the eye. And then, now that I've got this done, I can actually go in here and start to work on the outsides. So we'll start to swing this around here. I think I'll do the chin first, bring that up here. Once again, going heavier back here, kind of move this around a little bit so we can see better. Kind of taper this line and have it come down and in. And then as this line comes up, I'm not going to connect these all the way, I'm just going to have a taper right there. So instead of connecting the line as one big one, the tapers kind of come in towards each other and kind of do the heavy lifting of making it look like that's a finished line. That ear finished up there, kind of pull this out just a tad bit, get these eyelid lines in here. And then the eyebrow. Again, with eyebrows, I like to have a thicker, heavier line weight at the bottom, kind of simulates, once again, the feeling of the shadows there and the weight of that eyebrow. And then we'll also have the shadows coming down underneath that eyebrow too, into the eye. So it kind of helps us with that as well. All right, so we've got those, let's go ahead and get the mouth in here, get the eye here. Once again, I'm going to start with a kind of thin line, light press, lighter, heavier, heavier, lighter as I come around. Once again, you see it gives that illusion that that top part is thicker there, and it's going to have that shadow effect or feel to it. I'm going to zoom in here real close because I want to get a nice line that comes around here. It's kind of hard to do further away, plus I've got this kind of overlap there, so I want to knock that out. I don't want to make sure that my line kind of comes up like I want it to, to hide that part of the eye. When I'm switching over to my eraser, I'm just using the standard Inker Streamline to switch over. So I'm basically using the same brush as I'm drawing with for the erasing. Get the pupil in here. And with this, we want to hold down, do a circle, hold down, and then with our other finger hold down, it'll knock it into a perfect circle. It's kind of glitching out here, I want it to be smaller than that, but it's only making it bigger. One more time here. Nope. I'm too far away, I think, for the zoom. Try not to zoom in and out a lot, and sometimes when you're further out, you can't get those smaller circles as well. There we go. Draw the iris around here, hold them down to lock that in, draw that kind of bag there under that eye. I think I want to make another one kind of coming up here to kind of even that out from left to right. All right, so next up, let's get the ear in here, again, keeping these lines a little bit thinner than those ones in the back, and the chin coming down. I think this line, I don't want to connect this all the way either, just like we did up here. So if I pull this down, kind of let it taper there, and then taper it back there. It's kind of the same effect we used up here instead of completing that entire line. I think that makes it look a little bit better. All right, so that's done. Let me go ahead, oh, got to get the eyelid in here, pull this down. Let's go ahead and start the body down here, kind of do some overlaps there, so it's got some folds in the skin there, and the heavier lines back here, one up there, some folds there. All right, so we got that one. Let's go ahead and get this one back here, bring that down. Finish that off. I don't really like that one. Let me zoom in here so we get a little bit more control over this. Try not to zoom in and out too much, but I really do recommend, if you're drawing at home, zoom in and out as much as you can. The better that your lines look close up, the better that they're going to look far away as well. So if you can get in there, really make them nice and crisp when you're close, when you start to zoom out, then they're going to look that much better zoomed out too. So take advantage of that. I'm not really liking that as well either. Let me go ahead and do this a little bit different here. One more time, I'm going to bring this out a little bit, there we go, bring another one there. All right, zooming out now. That's what we're left with. Finally, we just got to get the ground in here for the mud pool. Get that around there, some lines here kind of overlapping, feed a little bit, and some extra detail lines in there too. All right, pulling out just a tad bit. Let me go ahead and turn off the sketch layer now. This is kind of what we're left with on the inks layer. From here, this is usually when I'll end up adding in a few little details. I'll skip and go back to the standard inker. So this has got streamline turned off. When I go in and start to add in little kind of flip marks like this for details, I like to have the streamline turned off and it just be the regular version of the brush. It makes for a little bit easier lines. Streamline I like if you're going and curving, but if you're just doing little short lines like that, I really like the regular version. So just adding little texture marks here and there, little dots here, extra lines there, just to add in some more fun stuff to the design. And that's what we're going to be left with for the inks layer. So now it's time to move on to the color flats. So to begin the color flats, what we're going to do is, once again, we're going to come up here to our layers menu and I'm going to go ahead, tap on my layer one and I'm going to make a new layer. So this is going to be underneath my lines layer. And then for my lines, I want to tap that and I want to set that as a reference. So that's going to allow us to drag and drop all of our colors down here onto layer three without affecting the lines layer. It's going to help us immensely when we go in and do shadows and highlights. So now that we've got that set, we're going to come up here to our colors palette. I'm going to switch to pink, drag and drop our color in there. So we've got our pink in there. Drag and drop again. And I think that's pretty much it for the pink of the pig. Back up to our color palette now, we've got this darker pink, we'll use that for the snout. Back up again, we've got this darker one still, it's almost a brown color. We'll use that for the eyebrows and then also here inside of the snout. Back to the color palette one more time, we've got white, we need that for the eyes. The eyes look like they're colored in right now, but if we turn off the background, we can tell they're not. So if we drag and drop that in, that will fill those. We can turn back on the background now. And let's see, that darker brown color too, we've got a little bit of that mouth open. So let's go ahead and fill that in right there. Back to the color palette, we've got the light blue, which we'll use for the irises of the eyes. Next up, gray, which is going to be the hooves down here. Get those filled in. We need another line right there too. So I'm going to come back to my reference layer here, my ink, so I'm just going to draw a line here for that to get that look right for the perspective that we've got going on. I had the line over here, but didn't have it on the other side. So back to the color flats layer then with gray, fill that in. And then finally, we've just got the mud down there. So grab that color, the brown, fill this in, and there we go. I think I want to have some mud kind of splashed on the pig too. So let's do that real quick. I'm going to switch back to my streamline now. And this, honestly, it's going to be pretty haphazard just wherever you think that there needs to be mud. This isn't one of those things that has to be followed along exactly. Honestly, no part of any of these tutorials do you have to feel like you have to follow along to the T. Definitely go ahead and make them your own if you want to add stuff, subtract stuff, change the shape of something, change the expression. You can do all that. This is more really just to kind of teach the process that I use for kind of taking a design from the imagination and throwing it down, making it come to life, and then showing you the steps along the way as far as improcreate to kind of help you learn the ropes there. Hopefully you can pick up some of the skills that you can use on your own designs later on. That's kind of the whole idea for these. So, like I said, don't feel like you're stuck to exactly what I'm showing here, especially parts like this with the mud. Make it your own. Put the stuff wherever you want. Just get these in and there's not a lot in this part to kind of tell you about, I guess. It's pretty self-explanatory as far as what I'm doing here. No magic trick. Not even any magic technique as far as how I'm holding the brush or the pen or my pressure or anything like that. This is the most basic of filling in. Very coloring book-esque right here. And there's really no thought process that I have either for how I'm doing this or where I'm placing them. It's just kind of at random. I'm just kind of getting different shapes. That's the whole idea here. I don't want it to be one constant shape over and over again. I don't want it to be just little dots everywhere. I want it to just kind of change from one splotch of mud to the next. So, I think that's good enough. All right. So, we've got the color flats completely done. One last thing I want to do before moving on is I want to kind of add in the highlights to the eyes here, the reflection there. To do that, we're going to come back up here to our lines layer, our inks layer two. And I'm just going to go ahead and select the white color here. And then I'm just going to draw in some circles here for the reflections in the eyes. Can't really do this on the color flats layer because we want it to go over top of the black that we've already got laid down. So, that's why I went in and did it on the actual lines layer there. That's the whole idea behind that. So, all right. We've got the color flats done. Next up, adding shadows and highlights. So, to do this, we're going to come up here to our layers menu. I'm going to make a new layer. I'm going to drag and drop this underneath the lines, above the color flats. Then I'm going to tap on this and I'm going to go ahead and set this as clipping mask. So, this is going to allow us to color in on this layer and it's only going to show up on what's colored in on the layer below it, layer three. So, if we draw out here, it's not going to show up. It's only going to show up inside. Makes it really nice and really easy. Back up to our color palette, I'm going to choose this purple color. And then, back to the layers, I'm going to turn off layer two reference. So, this way we can drag and drop stuff once we have it filled in. We don't have to worry about filling in everything. All right. So, once again, we've got the light source coming in from this top left-hand corner. So, that means our shadows are going to fall here on the right. So, I'm going to kind of just start to bring in some shadows around here, just kind of heavy and fill in some just major areas here, making sure my lines are all connected. And I'm coming around and you can see also, I'm on the wrong layer. I'm glad I caught that beforehand because it started to go outside of the lines there and I caught it. And that's why we need to be on that layer. It's going to lock it in, like I said, and we won't go outside of the lines. But that's how I could tell that I was on the wrong layer. See, nothing's showing up now outside of there. So, I'm just going to bring this down. And you'll see as I'm doing this too, I'm kind of following the curve that I've already created with the lines layer. So, everything follows that same flow. A lot of people wonder exactly how. And right here, I haven't connected the part of the eyebrow here, so we'll connect that. A lot of people wonder, you know, how do I know where to place the shadows? How do I know how the shadows go? As far as where to place the shadows, that, of course, is determined by that light source. So, we've already kind of got that decided. As far as how to place the shadows, one of the keys here is, like I said, just following along with the curves that you've laid down with that initial inks layer. And then, it's just kind of learning how light would react to the shape of the object itself. If you have problems with that starting out, number one, it really gets easier with time. You will end up not even really thinking about it all that much once you get good at it. One thing I really suggest, just watch a bunch of my videos, because I do the same technique in almost every single video as far as laying down the shadows and the highlights and kind of walk you through where the light source is coming from. And if you follow along with those, you'll kind of start to get the hang of it after a few. Once you do a bunch, and especially once you start doing it on your own, it'll start coming more naturally. But if you still have problems with it, one of the things that I really suggest is just grabbing a flashlight. So, if you've got a flashlight laying around the house, just grab your phone and the flashlight on there, and just pick up some random objects that you've got laying around the room, and just grab the flashlight, shine the light on them. I'm going to switch back to just the regular anchor. Shine the light on them and just see how the light reacts and kind of wraps around any given object. So, try a few different objects, because everything's going to act differently when that light hits it. And you can kind of start to see and get a feel for it. If you want to take a picture of it and kind of deconstruct it from there, or throw it in Procreate and kind of trace over top of it, and do it that way and kind of work the shadows out just like I'm doing here, but over top of the design that you've done, you can always do that. There's a bunch of different ways that you can get better. Switching back to Streamline now. And that's one of them that I suggest. So feel free to use that starting out, and it will kind of aid you in your journey of learning exactly how to play shadows. One of the things that I would say and I recommend is following the curves, I think, is a lot more important to making an appealing design that kind of works on its own. I would worry more about that than I would necessarily right away as far as how the shadows are going to fall on one object to the next. The reason I say that is because here you see I've got this curve coming down and around. If I had this and it was like jaggy and blocked off, it's just going to look weird with the flow of the design itself. I see a lot of artists when they start out, they just kind of, you know, they know where the light goes. But because they do these hard lines when they've got really soft curved outlines, everything just doesn't look right. Even though they've got everything in the right place, it just looks off because the light and the way that the shadows or the highlights work just goes against the actual feeling of the whole design. So I say that's honestly more important. It really shouldn't be, but I think that will break a design faster than having the light hitting it in the wrong way. So that is my little bit of advice to you on that. So do what you will with that. I'm just going to continue to kind of come around here and just add these in. Pull a little bit of a shadow here. Even though the light source is here, obviously that ear is going to hide some of this part of the face and you're going to have a little bit of a shadow there. I always like to have shadows too underneath the eyebrows going into the eyes. It just makes for, I think, a more appealing design and it kind of brings out those eyes and makes them stand out even more. Probably going to pull this away a little bit. I went a little too far up with that. So now that I've got the majority of that in, I'm going to go up here to my layers menu. I'm going to tap on N for the blend mode and I'm going to drop down the opacity of this down to, checking out the TV screen here, probably about 24, 25%. I think it looks pretty good. So the idea here is we want the shadows to be visible. We don't want them to be super dark. I think that's another thing that a lot of people kind of struggle with starting out. They try to make the shadows super, super dark. And in certain lighting situations, you know, that is what you want. If you have a really bright light source and you're in a dark room and you want a dark shadow to show that the light source is that much brighter, that's cool. But a lot of times the shadows are just too dark. So I say use that sparingly and really drop that opacity down. You want a nice kind of feel between the two areas. And I think we have that here with that. Like I said, set it, whatever it was, 30, 35%, 25%. I don't even remember now. So now that we've got that, what I want to do, number one, with my eraser coming here, kind of erase where I went over that line. So I want this to be that part underneath. Head and that chin is kind of giving off that shadow down to the body. So I don't want it to come past there. And now that I've got this, what I want to do, and I've talked about this in previous videos, is I want to go in with my eraser and kind of remove some of these shadows now. Just because like right here, we can tell there's a shadow, there's two different colors, two different values right against each other. But when we move back to this area back here, it's all one constant shadow. There's no value next to another value that you can tell, OK, there's a shadow there. So if we use the eraser now and we come in here and kind of pull out some edge highlights here, we start to see that, OK, yeah, there is a shadow there because I can see there's two different colors. So by doing this, it really kind of breaks up that shadow. And it works to our advantage of showing the viewer that there are two different values there next to each other. And then we can just kind of continue doing this around. This, I don't really worry like, oh, does this make sense? Would there be like this little highlight thing here coming up? I mean, it all depends on what's over here that we can't see. But at the same time, if it works for the design, I might throw a little bit of realistic lighting to the wind just because I want it to have a certain look. So use that as you will as well. Same thing here. We'll pull down, remove some shadow there, shadow from the top here, maybe a little bit in here as well, just so that we can see those different colors. I'm going to pull some out of the mud here, too. So we've got this really, really thick back here with the shadow, got this entire area colored in back here with shadow color. And I don't want it all filled in like that. So now we can see, OK, yeah, there's two different colors there. It works well. I'm going to move back and shadow in just a little bit here. Actually, I think I'll use a highlight there. Pull the shadow part there. And then finally, I'm going to do a little bit here in the eyes and the blue sections here, the irises. Get those there. And I think that looks good. All right. So let's go ahead now. I also want to add a shadow to the eyes themselves, the white parts. So I'm going to make a new layer again, and I'm going to tap this, set this as clipping mask as well. So we've got two on top of each other. They both go down to this one. So even though this one's on top of our shadow layer, it's still going to clip here. It doesn't clip to the shadow layer. It clips to whatever the original layer is, which is our color flats. So with that new layer made, I'm going to go up here to my colors palette. I'm going to choose blue. Zoom in just a tad bit here so you can see it. And I'm just going to come around here. Once again, you'll see I'm going to follow that curve of the eye around, just like we've already done with our other shadows. I want that to come around the same way. I've got it kind of tapered here towards the bottom, tapered here towards the center where it meets the iris there. Then we're going to do the same thing over here. Starting outside and kind of pulling it in will allow us to get that nice taper once we go in and remove that overlapping area. And this is why I did this on a separate layer too. So I can go outside of here, and then I can go ahead and erase it. And I'm not erasing stuff that we've already done. Since this is on its own layer, it's all self-contained. And as I zoom in here closer too, I can see I missed some spots here on the mud. So that's one of the benefits of zooming in too. I couldn't see those initially, but now I can. I can also see too, I overlapped here a little bit with the black of the eye. So if I go in there and clean that up, of course, that's going to leave a little white spot there, the pink. So it's kind of a back and forth thing. I got to go to the color flats layer, color that back in with the pink. And there we go. Okay, so we've got the eyes. Let's go ahead, come back up to our layers. I want to make sure I'm on that blue layer. And I'm going to tap the end for the blend mode again. I'm going to drop this down to about 40%. I think it looks pretty good. 42, 43 on there. Back to my colors with that blue again. I'm just going to grab that and put it on the same. Let me drop this back up before I drop the opacity here. Let me add in these. Just kind of oval reflections here to add some extra details, add some extra dimension. Now I'm going to drop it down again. Back to end, blend mode, whatever you like. I think mid 40s looks pretty good there. All right, so that's going to be the shadows. We've got that done. Two different layers. Now we're going to go ahead and work on the highlights, which work a lot just like the shadows. So we're going to go ahead and come back up to our layers menu. We're going to make a new layer. Tap that again. Set it as clipping mask. Once again, it's going to clip down here to that bottom. For a color, we're going to come up here to white in our color palette. And then, like I said, just kind of following along with that same curve of our lines. Down and around. See, kind of breaking it down as it comes down there. So it tapers into that taper. Pulling it down there kind of tapers it as well. Even pulling some here on the eyebrow. Put that in there, kind of taper it off. I think I actually want it thicker here at the top. Let me erase this. Thicker at the top and kind of taper down there. So once again, it works the same way. So we've got a thicker part up here for the eyebrow. So I want the highlight to be thicker to mimic what's going on with the eyebrow. As it gets thinner down here, same thing happens with the highlight. It kind of tapers down as well. So that's a good little kind of example of what I'm talking about with following those inks. Get a couple of reflections in there. Let's go ahead and let's see. Pulling down here on the cheek. Pull in there. Get one here in the eyelid or the kind of bag here is coming down. And have that kind of taper there. A couple of reflections there. Let's go ahead and pull one up here around the nose. Once again, we're on a separate layer. So I can go outside of the lines here and just go back in and clean it up with the eraser. And with being on a separate layer, I'm not erasing anything underneath. I'm just erasing the parts of that that kind of went over and the parts of it that I don't like. Pull another smaller one there. Looks good. What else? Let's pull some down here. I'm going to zoom in here so we can see this a little bit better. Kind of follow this around. Scan the way that it curves. See, like I said, just following these curves. Matching things up to the inks layer. Hopefully by this time, it's kind of all kind of making sense and clicking. And OK, yeah, I kind of get it. I see. I see what you're doing. All right, there we go. Is there anything else that needs highlights? I think that looks pretty good. So once again here, let's go ahead and drop down the opacity. So back up to the layer menu, tapping on the blend mode, dropping the opacity down to wherever you feel comfortable. I think 30% looks good. Once again here, same thing with the highlights as the shadows. Don't make them too bright. You want them to look natural. You want it to kind of blend in. And a lot of times I see artists just leaving them super, super bright. They look too, too popping off. And then also some might not look good. So like this one here, I didn't really like that one there over top of that mud the way that it was. So I can fix that. I'm also going to come in here and just kind of fix a few parts of those open mud spots that I missed. All right, so there we go. We got the shadows. We got the highlights. Let's throw a few highlights down here on the mud. It's one part that I see that we kind of forgot about. So again, just kind of tapered lines in there. Nothing too crazy. That's good enough, I think. I'm going to do one down here on the center part of the snout. All right, so design's done as far as the pig itself goes. Let's go ahead now and knock in a background to this guy. So for the background, I'm going to go up here to my layers. I'm going to come down to the very bottom and I'm going to make a new layer. Let's go ahead now, coming back up to our color palette. I've got this green color right here. Let's tap on that. And then for my brush, I'm just going to use that standard anchor. Again, streamline turned off and making this a little bit thicker. I'm just going to pull up some like blades of grass and some kind of weeds coming off here. Once again, I can get varied sizes of these, sizes of these, varied sizes just by, if I get the right size here, pressing harder in certain areas, lighter in certain areas. If you don't like the taper, you can come in here and erase to get a better taper. Totally up to you. If you want to erase everything and do it again, you can do that as well. But just doing quick little flips like that. I think this one might be a little too thick. Pull these out. And once again, just kind of random here. No really rhyme or reason. I'm going to pull them up wherever. Just quick little lines, little flicks. Just kind of like that. I forgot too, we need a tail for this guy. So back to the lines layer. If I just grab black here and just kind of throw in a little squiggly tail here. Is that what a pig's tail looks like? I guess. I don't know. Let's go streamline. Get a few more curves in there. I think it looks better. All right, cool. So we've got some grass in there. Let's go ahead then back to our layers menu. Come down to layer one. And I'm going to make a new layer again. Color palette one more time. And this light blue here. And I'm just going to draw an oval here. Holding down with my pencil. Down with my other finger to lock it in as a perfect circle. I'm going to drag and drop that color in there. So we got a nice little background going on. From here then, I'm going to go ahead. Come up to my layers menu again. And I'm going to tap this one. And I'm going to set it as alpha lock. So alpha lock works a lot like clipping mask. However, it's all on the same layer. So it's going to be destructive if you erase something. It's going to erase everything on that layer. It's not on a separate layer. But we'll go ahead and use that one for here. And I'll show you how it's different. So coming back up to our color palette and using this darker blue here. Let me go ahead and draw just a line a little bit lower and halfway there. And just kind of connect it here in and around. I'll drag and drop the color. If your color fills everything like this. It means your color drop threshold is too high. So holding down once you drop the color. Keeping the apple pencil down. And sliding this to the left or the right. Adjust that threshold. So you'll see here it turns it off there. And it doesn't fill in everything. So now we've got that. I'm going to come up here to my adjustments menu. I'm going to go to gaussian blur. Which is right here. And then we're going to choose layer. And then sliding the apple pencil to the right. So it gives us this nice gradient in the background. Letting off. Lock it in. I think it kind of almost has kind of like this dusk feel to it. So maybe it's just coming to sunset. Just past sunset. And maybe we get the stars coming out. So if we go to our eraser. Just kind of tap around here with the eraser. To give the stars feeling in the background. Tapping harder for a bigger star. Tapping softer for a smaller one. I think that looks pretty good. And then finally. One thing I think that we have to do is. We have to add a fly in here. It's a pig. He's in mud. We need a fly. So let's go ahead and let's make a new layer again. Switch back to black here. And standard anchor streamline again. Kind of zoom in here closer. Because we want this fly to be pretty small. Just do a little oval here. Nothing crazy. If you want to give this guy a full-on cartoon treatment. With zany eyes and a mouth and make him bigger. Feel free. For the sake of time though. I'm just doing it like this. So I'm going to come back up here to my layers. Down here to that layer 8 again. And I'm just going to select white here. Just color his wings in white. Just like that. And then back up to my layers again. Back to the fly layer. Back to my color palette. Choosing black. Just go ahead and do like the little fly path of where he's buzzing at. Kind of bring this around. So we've kind of got that in the background. And then with my eraser here. I'm just going to kind of knock out lines here. To kind of give that buzz feel. And his little flight path here. Just kind of randomly erasing here. Kind of keeping them all the same size. As much as I can eyeball I guess. The exception of the overlaps there. Just so that way we've got that added in. Little extra detail I think looks pretty cool. And then finally. I'm just going to go ahead and come down here to the bottom. And I'm going to sign this guy. And we will be done. All right. So there we go. How to draw a cartoon pig from start to finish. Really appreciate you guys watching. If you stuck through the whole thing. I know this one's a longer one. So hopefully you got some valuable information out of it. If you did make sure you give it a thumbs up. Also feel free to share it with somebody. If you think that they can get some value out of it too. Maybe teach them a thing or two about procreate or character design. Definitely feel free to tag a friend or share online. Also if you haven't yet subscribed to the channel. Hit the bell for notifications so you can get alerted when I post new videos. If you did draw along with me or to this one or any of my other tutorials. I definitely encourage you to post them online. I want to see what you were able to come up with. So if you are on Instagram or Twitter tag me at BJ Dell. Or if you're on Facebook. I also have a group over there called keep creating a group for artists by artists. An awesome place to share your artwork based on these videos. Or really just anything you're creating at all. We want to see what you guys are working on. If it's art. We want to see it. Great place to meet new friends. Give feedback. Get feedback. Share your work. It's an awesome place to be. Want you guys to be part of it too. So I'll link it down in the description below. And that's pretty much it for me. Once again. Thanks for watching. And until next time. Keep creating.