Abstract Impressionist Canvas Art with Adobe Fresco | Delores Naskrent | Skillshare

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Abstract Impressionist Canvas Art with Adobe Fresco

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 21m)
    • 1. Intro to Abstract Canvas Art with Fresco and Photoshop

    • 2. Overview, Inspiration and Color Schemes 1

    • 3. Color Mixing and Brush Analysis

    • 4. Blocking in the Initial Abstract

    • 5. Adding in the Contrasting Details

    • 6. Gold Trim and Other Accents

    • 7. Finalizing the Layout and Photoshop Finishing

    • 8. Prep for Export and Wrap Up

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About This Class


In this course, Abstract Impressionist Canvas Art with Adobe Fresco, you'll learn how to create your own abstract works of art to capture the overall feeling of a scene. Even though I am using the Adobe Fresco software on an iPad, you can use whatever program you are comfortable with. What I am teaching here is technique as a means to open your mind to the possibilities of producing lucrative works for art licensing or selling on POD sites. I will be showing you how to work in collections so that you have a cohesive set of artworks when you are done.

Once you have the art, you can create your physical products on sites like Society 6 and Redbubble to sell on the platform and marketplace of your choice - and/or - you can upload your digital designs to your Etsy store or personal website as art printables. When using print-on-demand sites, you are in a position to make a huge variety of different products to sell to your buyers. While you can create some epic wall art, you can also use the art for mugs, phone cases, and more. With abstract art, you are not limited! You can use your designs to create an entirely new set of products with things like all-over shirts, hoodies, and leggings - expanding your market, reach and inventory. As a bonus, this really kicks your creative nature into high gear. You get to be totally unique and create a variety of designs you never thought you'd be capable of. You'll go from "I have no idea what I'm doing" to "WOW! I can totally do this!"

So who is this course for? Well that's simple, really. It's for anyone who has the interest and a desire to learn the techniques used to create paintings like those shown here. Kick your daily art practice into high gear to flex your art making muscles. I show you a bunch of fun techniques, like adding gold and glitter accents to make your works really special. The gold accents I infuse into my artworks combine perfectly with so many designs. Gold is just that icing on the cake; that classy touch. Gold just works so well with all colors!

I listed this course as appropriate for all levels. In this course I assume you have at least some basic knowledge of abstract art and a desire to learn how to create these digitally. I show you how to mix colors and use brushes, as well as import brushes (in Adobe Fresco). In this course we will be creating  colorful, large modern abstract paintings. I will show you step by step how to add texture, line and form to a canvas and give you the confidence to paint loose and carefree without the worry of making mistakes. I share my secret techniques that took me years to perfect. If you want to learn how to create stunning designs using a timeless form of art - all the while using your art to make physical (and digital) products for personal, creative or commercial purposes, this is the course for you.

This class is suitable for artists with some knowledge of painting in general, but it will also be good information for beginners. The main focus of this class is composition and painting with digital oils/acrylics and adding accents in ink as well as the gold and glitter. If you are experienced, I hope you can learn a couple of alternative methods from me and perhaps a new approach.

The key concepts I will include:

  • mixing colors and saving palettes
  • review of my techniques in creating the initial layout
  • perfecting the composition
  • planning clipping masks and creating the clipping masks
  • approaches you can take in your creative work
  • working in collections

This is a great course for you to take no matter what you plan to be using the art for. Learn to work efficiently and work in collections, and learn how to package and output these in a professional way.


This short intro will give you an overview of the class.

Lesson 1: Overview and General Discussion

In this short video, I will show you the work of several artists whose work I admire. Exploring the different styles is a method to jumpstart your process. I explain gold foil, both done with traditional gold leafing techniques and within the offset printing industry.

Lesson 2: Color Mixing and Brush Analysis

This video is about color mixing where we figure out a complete palette of colors. We will use the Oil Paint Chunky Live Brush and experiment with transparency and/or mixing solid colors.

Lesson 3: Blocking in the Initial Abstract

This lesson focuses on the composition and design of our abstract work. I explain some of the brush settings as we initially block in our main components.

Lesson 4: Adding in the  Contrasting Details

In this lesson, I show you how to add many accents and really deepen the complexity of the image. This lesson really works on the composition and prepares the artwork for the next stage of adding in the gold trim and other accents.

Lesson 5: Gold Trim and Other Accents

This lesson focuses on adding the accents, mainly in gold. I take you through my process of creating these, and we do a couple of experiments. I explain clipping masks and methods to group files to easily move or alter them as a group. We are completely prepared for finishing by the end of this lesson.

Lesson 6: Finalizing the Layout and Photoshop Explorations

In this lesson, I take you through my process of experimenting in Photoshop. We will try adjusting the layouts, cropping, experimenting with blending modes and a few other strategies. The goal is to take 4 documents and turn them into 24, so I will impart as much information as I can about different ways to do that.

Lesson 7: Prepping for Export and Wrap Up

Here we look at some of the color options and how they looked as mockups. We talk about efficiency strategies to make the packaging of the collections faster while adding meta tags and other embedded information. This last segment will wrap up all we discussed and give you a starting point and encouragement to start today!

Concepts covered:

Concepts covered include but are not limited to the Fresco interface, creating color schemes, oil paint live brushes, blending, canvas paint brushes, pixel brushes, spatter brushes, layering, review of Fresco oil brushes, finding appropriate reference, daily art practice, art journaling, settings in Fresco, clipping masks, Fresco layers, the Fresco gallery, importing brushes, workflow best practices, underpainting, painting best practices, techniques with paints and blending, and much more.

You will get the bonus of…

  • about an hour and 20 minutes of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • a list of helpful online sites to further your education into surface pattern design.

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, and theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Trends, Metaverse and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this art for pattern design, greet... See full profile

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1. Intro to Abstract Canvas Art with Fresco and Photoshop: Hello there and welcome. My name is Dolores now Scranton. I'm coming to you from sunny, Manitoba, Canada to the inbreeding you a class on creating Canvas art. And we're going to be doing that in the program fresco. Adobe Fresco has become one of my favorite programs to work with. As you probably know if you've been following my classes, I really like how intuitive using the brushes in that program are. So I've been really experimenting. On my list of things to do is a new series of abstract art for my art licensing practice. I'm thinking of producing 20 to 24 pieces. And I've already started the process. What I'd like to do is create many, many layers and then take them into Photoshop for compositing. I'm going to be showing you the whole process in this class. So we're going to start with the blank slate in Fresco. We're gonna do some painting. We're going to create color schemes. We're going to use those colors schemes to produce some basic paint layers. We're going to add some details and axons which we can possibly do in gold will see. And then I'm going to take everything into Photoshop. And I'll show you my complete process right to the end stages when I'm exporting it and adding the Meta tags for my agent. Does that sound interesting? I hope so. Are you ready to get started? All right, let's get into it. 3. Color Mixing and Brush Analysis: Hi guys, welcome to lesson 2. Unless two here we're going to be looking at the iPad app. I'm going to be getting you started with the acrylic painting within the app. I'm not necessarily going to give you all of the overview of the software itself. I've covered that in my last few classes. As we go through. I'm sure there's going to be lots of stuff that you'll learn, but we're just going to kind of focus on this project. All right, let's get started. Here. I've actually already imported my color schemes. I usually start this way just so that I have a really good kind of a foundation for what I'm going to be doing. It's kind of a, it's almost like a ritual to get that color scheme worked out first. So what I did here is I went to my image icon over here to place a photo. I'm going to go into my files. Then I can go into iCloud Drive. That's where I've saved it. And in my iCloud Drive, I've got that color pellets folder. Now, you saw that I had already imported some color schemes there. Sometimes what I do is I bring in the entire screenshot with my different color ideas here. The reason I would do this is because I mentioned already what I want to do is produce 20 to 24 different pieces of artwork, and I need them in groupings of about four or five in each color scheme. So this is a really good way to have the reference on hand. Now one of the things I really like about fresco as opposed to procreate, is that we can move these right off our image area. So we could grab all of these and move them over to the side or above and our reference can just stay there. No, I usually have these on their own layers so that I can access them easily. Then I grab those layers, put them together in a layer group. So to do that, I'll select multiples. I've got all three of them selected. And I would hit this little folder icon. And that puts them all in the same folder. That's just a way to keep it kinda neat and tidy. Now this in this particular document, I haven't done any painting yet, so I've got a few that I have done in my gallery. I'll be showing you those in a minute. So I want to talk to you a little bit about the different ways that you can paint acrylic paint. In this program on the iPad. In the live brushes category, there is an oil paint category here. And you can choose between these brushes. I have experimented with these. Now, some people might consider this a really neat thing. Let me choose one of my colors here. Let's go to a deep forest d, kind of a green. One of the main selling points of this particular group of brushes is that you get this really authentic looking texture. Now this is considered a mixer brush. So the cool thing about it is that you can grab another color. Let's go into maybe that peachy color. You can paint with that color. If it doesn't touch, obviously it doesn't mix. But these brushes. Are designed to mix as if you've got your paint depth in more than one color. Okay. So that can that can be good or it can be bad. It depends what you're after. You can specify how much you want in your brush. So you can see here that as I increase it, it increases and more of the paint gets mixed in. So it's wherever you overlap, right? So if you're mixing, if you start in the dark, it's going to mix with whatever color you have selected here. And that can be a really positive and fun thing to do. So you've got to take the time to experiment with this a little bit to decide whether or not this is going to work for you. If you don't want it mixing, you can go right down to the bottom here and the color will not mix when you overlap onto the other color. So I found that that's kind of a very controllable kind of a way to work with your colors. You can experiment with all the different brushes. Of course, they all do different things just like they would with the natural media. So that's a filbert brush. So you can get some really nice effects with it. When you set the mixing height. That's set that low. And then you can see it looks completely different. This indicator here is for how much paint you have flowing onto your brush. So here I've got a lot and here I've got very little. So that would be as if you've taken your brush and you've kind of white it almost clean on a piece of paper. And then you're just taking whatever is left on that brush at the end to maybe do some dry brush effects. I usually have this set at least halfway. Now, one of the things that you'll notice is that the brush size, even if I go to the maximum, is not that big here on this document. And that's because I've actually got a really large document. So if you go to your settings here, you can see that I've got a setting of 24 inches by 16 inches. This is completely up to you. It depends what you're gonna be using it for. So if I'm going to be using this for art licensing, then I produced the work as large as I can get away with here so that when I take it into Photoshop to composite it, I can enlarge it to the finished size that I need, which is usually at least three feet, maybe four feet wide. So this gives me good enough quality that I can enlarge it. You can name your document here. So I'll call this one experimental and hit Save. And here I could actually change the resolution if I wanted to. Now, I'm not going to change the resolution, but you could hear now I've got it at 300 PPI. Sometimes I go higher. It just depends on what the ultimate use of my artwork will be. So at this point, I'd like to just kinda show you how I kind of Mixed to some of the colors that I was going to use for this particular abstract. What I did is I sampled the colors from basically these two rows here. I did not include that light turquoise at something I could possibly add leader. But what I did is I literally just held my finger down on whatever color I wanted and I painted it down here. And I went through and got my initial selection of colors. So I want to show you now how I would go about mixing these. And I'm going to duplicate this one so that I have a couple of more copies of it. So just hit Duplicate Layer, use your move tool and then do that again. And I've done three just so that it's sort of like as if I had little bits of this paint on my palette. And I want to kind of spontaneously mix some, so I'm not quite sure how it's going to work out. This is going to end up being kind of a mess of colors. But I just wanted to show you kind of a process where you could mix additional colors with this. Now of course, you can also use white to lighten the colors and that's something that we'll do as well. So I'm going to actually flatten these three together. So you just click on the top one, merge it down, and then click on the next one and merge it down. I hope someday they have that same functionality as they do in Procreate, where you can just kinda snap them together. So I'm going to go into my live brushes at the moment. So I'm going to take the oil paint chunky, and I'm going to keep this mix rate pretty high at the moment. I just want to show you some combinations of colors that will make new colors. So let's take this actually. First of all, let me move that down to transparent. And you can see here that mixing those together, I already have a really nice ramp between those two colors. So I could pick probably any little bit in here and use it to create something like this and other browns. So let's see, I sample right here. And you can see I've mixed a very, very nice brown that is a color that is for sure going to be homogenous with what we've got going on here. So that is one of the advantages of doing that. Now the other thing I could do is I could do the same thing and mix this in with this color. Let's just try wrapping all of these. Whoops, I gotta go back down to transparent. And I'm sweating just for the fun of it, kinda ramp all of these together and see what colors I can produce. So look at all that beautiful tone in there. Now this is my almost white tone. And you can see for me to hear that I've got some really great colors going on here. And then of course, there's this dark tone, closest years old, and this dark tone mix with whatever color is going to give us a really nice shade. So anything that's mixed with white is a tent and anything mixed with black or really dark color would be a shade. So we could do something like this where we take this color. I've got it selected. What I would do is copy the selection here and then paste it. Then I can move this one over here and I'm going to merge it down so it's on the same layer. So hit Done and then merge down. And then let's try ramping those two together. So you can see here, now, we've got a really nice range of tone from that dark brown. You could do that with all of these. So really, you could take this color now. And rather than copying and pasting, you can go back to a 100 percent here, sample, whichever color it is you want to mix with, put it down in an area here, and then go back to your virile and mix them together. So we're getting some lovely, sort of peachy tones in here. And of course you could also do the same thing and sample this color. Now it goes automatically to the a 100 percent, by the way, let's paint that color in here. And that's pretty cool. Over gonna go down to 0 gal, you can just hit this little button in the lower right-hand corner, but then we could mix these together. So this is a wonderful way to create a really fleshed out palate. A lot of this stuff. You just after awhile kinda learn how to do on the fly. But if you'd like to work with a palette, then you can easily have this layer available at all times. So you could sample any one of the colors that you've created. And that's a beautiful gray. And you know that it's related to this set of colors. So it's going to for sure work together. I think when I just kinda play with this a little bit more with it, turn that to 0 and look at the neat to kind of things that you can do here. So let's sample this. I'm going to paint it over here, and I haven't mixed it with this brown yet. So go back to 0 here and blend those two. So there are some really pretty sort of light pinks that are going to be absolutely beautifully toned for this painting. And That's really quite nice to get some really nice tones in here. So this is a really great way to create the complete palate that you'd be wanting to use for your abstract. So in the next lesson, what we're going to do is just kinda start that abstract and get that ready off camera. And I will meet you in the next lesson where we're going to get that done. 4. Blocking in the Initial Abstract: Hi guys, welcome to lesson 3. So in Lesson 3 here I'm going to show you how we use the palette that we created in that last lesson, we are going to block in a lot of our color. I want to talk about composition as well. And then at the end we're going to be adding a bunch of kind of interesting detail. I'll show you how I make sure that that's all integrated. Throughout the lesson, I continue to work on my composition, so you'll see what I mean when we get into it. Let's get started. So I'm ready to start painting that background. Actually did a little bit of it off-camera, but I found that I was referring back to this layer quite a bit. So what I wanna do is show you how to just move that off and have it available for sampling from. So basically I just grabbed the image and this is one of the advantages of fresco at the poster. Procreate and procreate. You can't do this. So it's nice to be able to do that and have it off to the side. The unfortunate thing is, as soon as I do that, it's off the image area. And what do I do? So I figured out that what I can do is actually export this. So to export it, you hit this little Publish and Export button. You can do a quick export or you can go in and choose the format that you want to export to. So I'm going to, doesn't matter because PNG or JPEG one or the other, I'm going to hit Export. I'm going to save it to my files. And that's going to save it right here on the iPad. It'll be saved into whatever folder I've put it in. So I'm going to put it in color pellets folder, hit Save, hit Done, and then here, and hit this, go to files. And it's in my color pallets in the winter you want to import takes a couple of seconds. And then the beauty of the imported image is I can place it over the edge or above and it'll still be visible. So I'm gonna do that right now. I'm going to hit Done, and now I can keep that visible and it won't be in the way here at all. So here, this layer, I'm going to hide image still stays here. I'm going to show you the steps I went to when I started to do my paintings. So I've done a couple of layers here to show you, to show the layer, hit this visibility icon here. And you can see here that I've roughed in a few of the shapes. So if you look at my layers here, you can see the progression and I've added additional items here. This first one, what I did to get these areas of color is I just sample the color up here, made sure I was on the brush and I use oil paint for a lot of it. So if you look up close the ones that are oil paint, you can see how this sort of a texture. And then there are spots where I switched for brush. I like the look of this canvas brush. I like how it has this texture. So I use that in spots to just add additional texture. That's something I would probably continue to do right now. And I'm going to go and add some texture to the colors have already placed here. So I will be sampling the colors. First. I want to kind of point out a little bit of compositional stuff to keep in mind when you're working on this sort of impressionism, abstract, layered, kind of a composition. So I always told my students to think in terms of odd numbers. So try not to do too even things exactly the same size. To try to make one of them bigger than the other. And the best thing is to have three and all in different phases. So in keeping with that sort of philosophy, this one here I think could be bigger. So I'm going to just add a little bit of extra to this piece here. Now one of the things I recommend that you do as well is to somewhat changed the direction of your brushes as you're painting. If you were to paint the same stroke each time, you would actually see the repeat of that stamp, really kind of obviously. So you see that's exactly the same. So I like varying the size or change the direction a bit just to have a little bit of variety. Also remember that you can the amount of flow to get sort of different looks to it and maybe get into the habit of holding your stylus more like a brush, not so much like a pencil. So you're holding it really close like a pencil, you're going to get tighter looking lines. And if you tend to draw or paint as if you're holding an actual paintbrush, you're gonna get more sort of natural-looking brushstrokes. So now I've got three different sizes here, so I like that a little bit better. And then I think I need to change one or the other of these course. It never fails as soon as I start to record a left and a train goes by, we actually have trains going by here every ten minutes. I'm going to make this one just a little bit bigger. I like how I've got the height placement a little bit different there. And I think I need a little bit more of this pink here and maybe one or two little bit here and there. I did sample from this area quite a bit when I was doing my colors. And I noticed here that I haven't really added any of that Goldie kind of a brown in there. So you don't make a slightly bigger one here. But you can see that I've tried to keep everything sort of asymmetrical. Now that was what I did for my first layer. And then I want to start adding a little bit more interests. So I'm going to reveal this layer and you'll see that I have added a lot more Russia kind of strokes here. Now this one of course, is opaque so it's hiding what's underneath. So here I would go into the blending modes and just pull this over a bit and experiment with blending until I find something that I really like. Now this is, I think really pretty, It's a little bit dark. So what I might do is reduce the opacity. So that's something you can play with and if you don't mind that one, so I might come back to that. That one is kinda neat as well. Let's see what would happen if we reduce the opacity. So that's kind of an interesting one as well. So darker color and multiply. At this point, it's your creative judgment. It's really literally how you want your piece to look. So you do have to do a bit of experimenting. Now this one is really neat. I like how it's got this beautiful blending going on over here. And it kinda does introduce a little bit of additional color like I really like that pinky this in there. So that's another contender there. That's pretty too. So this really so many great blending modes that would work when you're putting this kind of look together. Some of them don't work at all. But yeah, there's some really neat ones. I'm not sure which one I liked better, I think multiply and then a reduced opacity was quite nice. So maybe I'll, I'll stick with that one for now. There are still more layers that I have hidden here. And ironically, I'm not going to be able to reproduce what it was that I was thinking or worksheet Han last night because I didn't take notes or make a duplicate. Most of the time. When I'm about to do this, I do make a duplicate just for this reason, but onwards and upwards, Let's reveal. Okay, So this one was a completely different idea. Remember when we were looking through some of the inspiration, there were some pieces where a whole area was kind of blocked out with an alternate color. So that was just an experiment to see if that would be something I would like. It isn't what I'm going to use, so I'm going to just turn that off. Let's take a look at this one here. Now here what I've done is started to add a bunch of other detail. So you can see in here that I've got paint dripping and I've also got what looks like scraping as if you've got a palette knife or the top end of your brush and you scraped into the paints that you've laid down. And then I've also got this really textural kind of an edge here. Let me show you those different things. I'm going to first hide this layer and I'll show you the different brushes that I used for that. So to get the really textural layer, it was a pixel brush that I used. And I think it was these old bristles going to be on the layer that you're painting onto. So that would be, I'm going to make a new layer actually. So you can see that that adds a ton of detail, just kinda roughness. And I've got another layer so that I could actually experiment with blending modes on this one as well. So that was one of the brushes I tried. Scratchy bristles was one that I tried. Messy square. So I've experimented with that one a little bit. And right now, I don't have the flow all the way to the top. You can definitely increase the flow. And this one looks very different when you dab it, as opposed to brushing it. And also turns out different when you're using your fingertip rather than your brush. And then this canvas detail, like I said, was a really great one for giving that really textural Canvas. So I would go through and experiment with those. That was basically the process that I went through. You can also go into some of the other types of brushes. Rakes are another one of my favorites. And for something like this, maybe the rake textured and I think I would sample that darker brown or dark, dark, almost black really. Let's look at that color, sample it and look at it in here. Yeah, it looks like it is black. Let me go to that dark brown again. So that brown there, I could go a tiny bit darker just by dragging it this way and adding that rake detail. You can see it's still shows quite nicely on the Brown. I'm sure if you can see that from this lighting, but I do like that. Let's try a little bit of this. Here. I really like how that lays down. Speedy trial from up here. Let's grab that color there. You can see that that's quite nice. And we're slowly taking away the really digital look of the brushes by just going through and doing a bunch of this kind of texture. And now another brush that I really like using is also a pixel brush. It's a pile of brush that I imported. It's a Keith Haring sets. If you took my other classes on Prosecco, I did mentioned this brush or feather brushes because there are a bunch of different drugs so you can try them all out. Let's try this drip. I'm going to go up here and sample this kind of deeper red. And you can see that drops the color on very nicely and very naturally. Now, I had put a brush line there that you just saw, but I didn't like how it basically bisected this whole Canvas. So I'm just kinda moving there was a little bit off centered. I've got those at full flow rate now, you can try a couple with partial flow and then of course, sample your color and lay some of that alternate in spots here that will enhance the design and everything like that. White kind of a drip. So let's go to a drift ready to drop that in there a few spots. Now, this brush, just like the others, different when you hold the brush down, when you stroke with it or when you use your fingers. So you have to kind of experiment with all three so you get the idea of how each of the work and thinking on this brown here, I want to go a tiny bit lighter to go to another. Let's try the random at a few drips there. Okay, so I've added a lot. And I'm thinking that what I wanna do now is kind of blend those in a little bit. So I'm going to try a wet oil and go back to that chunky. And let me do this somewhere where you're going to be able to really see it. Here. You can see that is a very hard beginning to those drips and it doesn't really look realistic. So what I would do here is I would sample the color that's there. I'm going to reduce the flow a little bit and reduce the size, reduce the transparency of the color itself. Yes, that works medieval. A little bit more, increase the flow. And you can see that I can somewhat bland see how I can pull that line up. It's coming up in there. So that's one of the things that you can do. And then you can also use the smudge tool. Now with the smudge tool, I've actually got the canvas brush as my smudge. I do the smudging. You can see that I'm actually adding some texture in there. I think I like that. So I think I'm going to just go through and use this to smudge the tops of a lot of these. So there are just more integrated. They don't look like they're just paint strokes. See what I mean. That's lovely. I managed to really tone that one down by doing that. And I'm quite like you to look at this right now and a little bit unsure about this area here, I feel like this one needs to come up a little bit. So I'm going to switch to my brush, canvas brush flat. Feel like this, needs to come in front a little bit. So that compositionally it's more interesting. Okay, so I think this lesson has been very full of information. I've done a lot of stuff here that I really like the look of. And I've got a couple of more things to show you as you can see by these hidden layers. So we'll look at those things on the next lesson. I'll see you there. 5. Adding in the Contrasting Details: Hi guys, welcome to lesson 4. So Lesson 4 here I'm going to talk to you about how I add detail to a layout like this. We're going to try a bunch of different techniques. And hopefully at the end we have a somewhat finished piece. All right, let's get started. All right, so you saw me adding a whole bunch of sort of painterly details that have given me a lot of texture here. I want to go through now and add a bunch of what I would call kind of accents. So in this layout here, I've already done that. I'm going to show you how I do it, but I want to show you the one that I did. So this is it right here and right here. And as you can see, I've added a bunch of these little kind of scrape lines. I've added some extra texture applauded in some of my colors. So a painted in some spots and just generally added a little bit of interest here. So I'm going to hide this layer and I'm going to attempt to kinda do it again. So I'll probably have an alternate which is which is fine because I can use that when I'm doing my final compositing in Photoshop. So we're going to hide that layer and we'll add a new layer. And then I'll walk you through and explain as I do with the different strategies are that I have for this. I'm still having my color schemes up here, and I think I'm still going to use that canvas brush because I want to now take out maybe some of that more oily texture and make it look more candidacy. So I want to sample this brown. I'm going to go a little bit later, so I'm going to get into my color picker here. I'm just lightening a little bit, keeping the transparency at a 100, so I don't want any transparency in this case. Pointed out to you down here to this, this is a great way to kind of pick some of the colors that I might want to use in this last stage. So as I mix a color up there, I can hit this plus sign here. And it adds the little swatch down here so that I can use it again without having to go back and pickets if that makes sense. So let me see how that looks. Now, I think that's a little bit too light. I'm going to go a bit darker and I like that so you can barely see the difference. But what I wanna do is just kind of add a little bit of depth to this. So let's make sure I'm on the canvas brush and I am. And so I'm just kinda brushing in lightly over this brown that I have. So that gives me sort of a deeper look to that section. So when I add that, I'm not going right to the edges. In most cases sometimes I might hold it over a little bit like that. But what I'm doing is allowing that darker brown to continue living there by adding this lighter color to just make it a little bit more interesting. As I'm doing this, you can see that I'm adding that Canvas kind of a finish to it, which I like. And I'm going to go in and do that a little bit over here too. So I'm not necessarily filling in the whole space. You can see sometimes I'm just dabbing sort of squares and I'm going to actually go through and do that with all of my colors. Now, if I ever feel like in this case that was too dark, I can go in and reduce the flow and make it a little bit more transparent, and then it blends in a little bit better. The other thing I always used to encourage my students to do is to change the brush size when they're doing this kind of thing. So don't keep them all at this same size. Try to do some that are smaller solar thing. I'm going to sample this color and go just a tiny bit brighter or darker. You can change color up here, or you can use your hue and saturation and brightness sliders, which sometimes is a little bit easier to control. This is a small color picker, so it's easier to just really Hall too far with your color change. You could also change it to RGB sliders. But I go even I don't like using them. I don't really understand them. They don't work in the same way. So hue, saturation and brightness is something that most artists understand. Now the other thing is you don't have to stick to the squares like I'm doing. You can start switching it up and making different shapes. So maybe in this area, I would do something. First of all, a tiny bit, Breyer, not much. So that slight change, I'm going to go to a smaller brush. And then here I'll go a little bit greater yets and a little bit smaller. And here I might choose to make circular marks with using the flow a little bit more, reducing the size of a little bit more. Because here I think I wanted to kind of circles still feel speak to me here and do. It's really small marks. And I think I want to introduce some white into this. So I'm going to sample that color and bring that right to a 100 percent, reduce the saturation. So basically is still a very light pinkish BG color, but it's now, and you see now I've thought kind of a really light little accent that I can add in spots. This is a good time if you are looking for ideas to switch back and take a look at some of your reference to get some ideas. Here's an artist who uses a lot of this mark-making. So that would be an artists you can look up, view, click on her art. You'll be given more examples. So here's some ideas for mark making. So it's completely up to you how you want to handle that. If you ever want to have that kind of reference open, you can actually drag your other program and have it here on the side. You can reduce it down and have it there as reference. I don't actually want it there, so I'm just going to take it out. I'd rather have my whole image area showing here. So let's see what else can put in here. I think I might want to introduce a few lines and things maybe that look like they've been scraped away. So I did find that the oil paint brush was nice for that. I'm going to use the oil paint detail. What I like about this one is if you take a look at the stroke itself and I'm going to show you a close up here, but the stroke itself has a tendency to have that three-dimensional feel. So it already looks like it's got an edge and some texture in it. So I'll show you that. Let's just grab this color. And I'm going to go quite small, keep my full high and yeah, that's a good size, So yeah, I think that would work. So can you see that with the line itself that it's got some dimension to it. So that kinda works well for those sorts of little accents you want to put in. And when I'm doing this, I usually zoom right out like this. If you're zoomed in real close, It's hard to see what the impact of the line is until you go back down again. So why not just keep it in the view that works and makes more sense where you can see more. So I'm going to take those out and I like to be really gestural with my lines. Let me show you the ones that I actually ended up doing might be this. You see how I've caught some lines poked in here all around. Interestingly enough, I could possibly use this in conjunction with the other one that I'm creating. So I'm not sure how that might work yet, but it's definitely a possibility. Okay, make sure I'm on the right layer and I'm going to go even a little bit smaller. And I like, you know, just kind of going through and making lines. I'm going to stick to putting the color over top of the related color just to make it more homogenous to start out with. So I'll sample, for example, this color here, make it a little bit lighter to use it in this area. So this is what you see when you get a close up of it. Okay. I think it's nice because it ties in that dripping to here. I might go to that pure block that we have up here. And you see what happens when I drag through, like I've got the mixing sets, I'm going to actually set it really high, but when you drag through another color, it does drag other color in as well. Okay. So I dragged I've got the black but I dragged it through the pink. So it picked up some of the pink to kinda transfer in there, which I really like. So a little bit more that now you can do any kind of shapes you want. So don't feel like you're limited to what I'm doing here. I've definitely done all kinds of different things in the past. I'm actually, I'm going to show you that in a sec because I want to do another layer that we're going to use for our gold and foil access. Okay, So at this point, I'm going to go in and make some really small marks in places. Maybe down in here. I'll just do some not sure what that one is. Sometimes what happens is I don't have both fingers down when I'm when I'm trying to zoom in or zoom out and then I get a little eraser marker, a painted mark where I don't necessarily want it. So I'm going to erase that one out. I'll go with a smaller raised are those which will disturb the other line. So I've added a little bit there. You're like Now I need a little bit up here. Maybe I'll go with this color back to that oil paint. Actually. I like that because it really feels like you're somewhat working on Wes and you're getting that cool sort of mixing, which makes it look that much more integrated. If you're zoomed in like this and you wanted to go back down really quick. You can just quickly do a two-finger gesture and that will bring it back to fill the screen. Sometimes you still have to go bit smaller. I can actually hide that for now. And this is a time for possibly experimenting with bringing in another color. So, I mean, looking back at our palettes here that we had originally, I remember I did not use that kind of a turquoise color that was part of that scheme. This might be a time to consider doing that. So you could bring in another color which could look really amazing. So that's something to think about. At this point. What I'm thinking I want to do though, is start planning the layer that will end up being my gold foil and stuff. So I think I can leave this part of the lesson and we'll go into the next lesson where we're going to do that. All right? Okay. I'll see you there. 6. Gold Trim and Other Accents: Hi guys, welcome to lesson 5. So in this lesson I want to show you how to add the accents that will complement this piece. I'm going to start with that artwork that I showed you originally. And then I'm going to walk you through the steps of doing this for yourself. Let's get started. All right, so this is that image that I originally showed you. And in this one I had already added the foil. You can see that I've got a bunch of layers here. And these are clipping masks that I have placed over the layer that I drew the accents on. So if I was to hide the accents, you'd see that that was a simply black and white. I'm going to walk you through this process because I've done this a little bit differently than in my class where we cover using these accents. So I just kinda have learned a few other things that I can do to add that interests and I want to share it with you, of course. All right. So I'm gonna go back to the document we've been working on. For some reason, my Internet's a little bit slow today, so it takes a little bit longer to load recurrently piggybacking on the Internet that we had installed at our other house. And we're waiting for the fiber-optic to be installed here. So many variables. All right, so here's my documents, and I want to plan out a few things to add as accents. So when you're considering this kind of addition, you want to look at your composition and see how you can really compliment what you've got going on with the, in this case, it's going to be foil trim. I might do a rose gold, but let's just start with gold and we can change it up later on. So I'm looking at the overall composition and I definitely want to add some. It was kinda big circles like I have in the other one. So I'm going to make a new layer. I go to my top-most layer here. Actually, let's take a look at these two to see if they might be usable. Not sure about that one. Yeah, I think I'll just leave those two off for now. And I'm going to add a layer on top of everything else. So for this, I'm going to choose an ink pen and my favorite is the Brush Pen Gritty. What I like about this one is That's really interesting stroke. So it's got the ability to go thick and thin, but it also has kind of a broken stroke, which I think makes a lot more interesting. So I'm going to get rid of that, of course. And this is another edition where I think that it's better to be taking a look at your entire composition. If you were painting this and you have this up on an easel, this will be where you'd backup and take a look at it and decide where would be the best place to add these accents. Now of course, we have the advantage of being able to undo anything that doesn't look right, which is something you wouldn't have if you were working on a canvas? Not necessarily, but anyways, we're going to plan a few here. And I'm thinking what I'd like to do is definitely use that rule of odd numbers and do probably three different things here. So I'm going to probably do something over here, thinking maybe I'm going to go a little bit thinner. This brush is great because you can go very lightly and press really hard and get a real varied size. So I like that. So I'm going to say if I did this in white, you'd probably see it better rates. So let me just do this in white or light color. If you want straight white, you can just hit that dot in the upper left-hand corner. So thinking something like that, we would then need something over here, something like that. So I've got my three different elements. They're different in size and they look different. I'm thinking I'm want to move this one over a little bit though. So I'm going to select it, pulls it, cuts selection and paste the selection. Then I can move it over a little bit. So I like that hit Done there. And then this is one thing I want to plan out is some areas of just sort of a solid with my foil. The look that I'm trying to achieve here, I'll show you and go back to my art inspirations here and show you this one here. I like this stuff that's going on in here. I think that's probably a metallic ink that was mixed in with watercolor or possibly painted over top, that I really kinda like that effect. So I want to plan out a little bit too. So I'm going to go back and add another layer. And just for the sake of having kind of a hard sort of watercolor type edge to it, which is going to be an experiment on my part. I am going to go to the watercolors. I think I'll temporarily hide these other layers and just show you. I'm going to take just the black watercolor here. So that's the live brushes. Well, and let's go with the wash flat. I'm going pure black. I've got my brush fairly small. Let me just draw a shape and I'm going to use, I'm going to increase my brush size, reduce my transparency, and I'm just adding water to try to spread that black in a little bit. So this Experiments, I'm hoping it's going to work. Just imagine this in foil and wherever there is a color, that's where the foil will be. And for the left color there is, is the lighter the foil would be. So I'm just going to let you in on my little experiment, which may or may not work. We'll see. So let's try another one. This time I'm going to do black again. I'm going to do it even smaller and make my shape bigger. See there I've hit a wet spot on the canvas. That head's probably convex innately lead down there. But no matter. Now I'm going to go full transparency, big brush. And let's try this. And I know this wasn't a watercolor class. I do cover these watercolors thoroughly in another class, but I just wanted you to just see kind of an alternate method for doing this gold. And hopefully it looks like that example I showed you. And let's try one that's really liked. This time with the darker gold in the middle and spreading as far out as possible. And you can also go in with white. I mean, I know there's really no such thing as white in watercolor, but you can get some pretty cool effects there too. And we'll see how those translate when we do the gold. Okay, so we've got that drawn, we've got those other gold lines drawn. Let's turn on all our layers again. So scurrying with this one, I'm going to hide this watercolor for now. Okay, so let's grab our gold so that I've got saved here in my files. So I've got a glitter that I'm adding. And I think I've got the goal here already or I can just drag this one and place it into this layer group. So now I've got both of the goals there. I'm just going to temporarily hide at this glitter. And I'm going to bring this goal down to be over my white. And then you simply have to click this button here, which is a clipping mask. Looks like yeah, here is, this is this layer. And you can see that as long as you enlarge to fit, you get that completely in gold. So I would duplicate this one and drag it to this position here, eclipse to this other set here. And again, I would just have to position it so that it covers whatever I've drawn and want in that color. So let's also try that one on that watercolor layer. Duplicate first. Drag it down to the watercolor. And I'm a little bit worried about the fact that I added that white because I think that kinda ruined it for the effect that I was looking for. So I'm going to turn this off for a second and see if I can salvage. And I'm just wondering if I can change the blending mode and whether or not that would still work. And it doesn't really. So I think I need to completely get rid of this, make a new one. So I'm going to unclip that mask or that gold is, hide it temporarily, take this one and get rid of it, add a layer here, and go back to my watercolor black. And actually let's turn this on and have it clipping there. So that as I'm painting, I can see what just see where this is positioned. So that cold. It's kind of in the middle. So let's try that watercolor painting here. And this is probably how I should have done it. I should have had my layers visible so I can kinda see what I was doing and that I had that visible as well. So you can see that wherever the black thins out, I get a very soft gold. And wherever the gold is or the black is very heavy, I get a very thick go here. Let's take the color right out of it and just start blending inwards. So this is what I was doing, which would have worked fine had I not added that white at the end. So whether that is or isn't technique you might use, at least you know how to do it. So right now this is just clear water that I'm adding. And you can see that I could spread my goal then, you know, it's kind of a neat effect. If I was to go back to a pure black and get my brush smaller and drop more black in there. I could get that gold a little bit more intense in squats, though, it's actually pretty cool to watch this happening. You can see that the goal reading. So I think that actually is a very interesting and unique new sort of technique, if you can call it that, that I've stumbled upon. And I don't really like the positioning of it, but I'm just going to adjust the shape a little bit. And it kinda, it might be fun to do things like this, you know, and then grab that layer and reposition it. So let's do that. So you can see here I'm dragging out of the area where the gold is. Not sure if I can make a layer group here. So if I was to drag that, I don't think I can group these unless I was to add another layer. Do it right here. So these three are now together. So if I was to drag this down into that, that becomes a group which I can then move altogether so that the little trick that I figured out at some point. So I'm not sure where that might fit in. Me. It's neat when it's in a group like this that you can just resize it like I just did some, I think it kinda works there. I might go in there and just continue with that transparency so that this entire pieces filled. But I do like that I've got that really darker gold on the outsides. Not quite what I envisioned, but it's a unique new technique nonetheless. Sometimes it works like that. You take an idea and you just try to follow it through. And once you do, you've invented something completely different and perhaps somebody else knows, yes, Right? So I think I'm gonna do a little bit of work on this off camera. And then I'm going to come back to you with a more finished piece. And then we're going to talk about taking this into Photoshop to do the sort of final preparations of that I have to do in order to prepare this for my art licensing. All right. So I'll see you in that next lesson. 7. Finalizing the Layout and Photoshop Finishing: Hi guys, welcome to lesson 6. So I'm going to start this lesson with just kind of time-lapse. We finalizing my layout here. And then we're going to hop on over to Photoshop. So then I'll switch to my desktop. All right, let's get going. I thought I'd also try here with this gold is taking the racer to that watercolor layer and just kind of lightening at alphabets. But that might work. So I have to convert it to a pixel layer. And then I'm just going to get a pretty large eraser, and I've just got the soft round opacity. I shall do the soft round variable. And I'm just erasing some of that. Oh, you're gonna reduce the flow of it a little bit. You can reduce the flow to have your eraser just really lightly erasing. I'm not sure if you can even really see that, but it's erasing just a little bit. I'm going to go even lower. So I wanted that gold to kind of melt into the sort of Bei Zhe brownie layer that I had there. So I'm pretty satisfied with this layout at the moment. So what I'm gonna do is export it as a PSD so that I can open it up in Photoshop. So in order to do that, I'm going to save here first, and then I'm going to select this artwork. Now you can see here that I do have a couple of duplicates that I've saved throughout the process, just to be sure that I don't accidentally do something that I regret. And I've always got that backup to goal and, you know, do some additional work on. So here when I hit Publish and Export, I can export as a PSD file. Hit Export. I can actually AirDrop it straight to my computer. So that's probably what I'll do. So I'm going to hit AirDrop here, hit my iMac icon, and in a few minutes we'll be switching over to the desktop. Right? So let's open up that document. I've saved it in my downloads folder, so it's come from my iPad and AirDrop ratio for me to grab and hit Open. And we should see all of the layers come in exactly as they were. Yep, here. So all of our layers are exactly like they were there. They are in the layer groups that I created. And looks like everything is here. There is a lot lot of stuff here that I don't need to have open. So I guess that one was the one I needed to have open. I'll just clean this up a little bit. And yeah, so here it is. And looks like a really wouldn't be too much left to do here. I could quite easily submit this as is. I might do a little bit of flossing and maybe change some of the additional kinda accents that you saw me just put in there right at the very end. But amongst the things I wanted to show you, I think something that would be very useful for you to know is how you can take these kind of layered files. And I've got several of them here that I can show you and try to create more artworks from the ones that you have. So you saw that I have a lot of different layer groups here. So I've got different iterations of the design. Some of them aren't as fully developed and need some additional TLC, I guess you'd call it. A lot of them were very experimental. But I always feel like there's something that can be done to really finish them up and make them look like they need to in order to be ready for submitting for art licensing or for uploading to a POD website. So let's take a look at this one. Now amongst the things that I might consider doing here would be cropping this and making it into more than one artwork. So I could easily get my property to allow and then just kind of decide on an area that might work well as a standalone. So I'm just going to crop it. A good thing is I do have this obviously still on my iPad, so this bucket of the original and then remember on my iPad, I also had a duplicate. So when it comes to these really large file sizes, even simple things like cropping will take quite a bit of Photoshop and computer processing juice. So it'll take a minute. It might be a good idea actually, at this point where I could go into the spot where the original is here in my Downloads and make several duplicates here. So this duplicate I could open and do something completely different on. So I think this would stand alone as a very nice print, very nice Canvas. Keep in mind that when you do crop, it's your reducing the size of your file physically. So if it was originally 24 by 16, now it's probably quite a lot smaller. I'd have to look at it in a second. And then the fact that it's smaller than, makes it not quite as good of a candidate for enlarging to a really large canvas size. Yeah, that works out to around 10 by 14. So I think what I'll do is undo that. And the other thing I have often done is just taken some of the components and just enlarge them to crop them within this space. And I think one of the things I could do right now is just get rid of a couple of things that I'm definitely not going to be using. I'm sure with this one. Over there, buddy. And what did I have in here that can go? And I like having this navigator open Because bring that over a bit and bring this down a bit. And then if I am way in the corner or something by someone, get a good thumbnail view here, which I like. Okay, so maybe what I'll do is grab this layer and let's just enlarge it. See what we can isolate. So you can move it around like this to see if you can find some other really neat areas or just a better way of cropping it to make it look more interesting. So that's kind of a nice layout as well. In a case like this, what I might do though, is only transform part of it. For example, I might just grab these layers to enlarge them. So you can see the difference there. My layout, just being moved and how it works or doesn't work with my accent. You can literally spend hours creating multiple documents just from that one document. So another thing would be to just grab one of the layers at a time and enlarge it. I'm going to hide that one actually. We're actually, let's try a blending mode, which is for the fundament, for this might be a way to make an alternate. So that's what it looks with it and without it. So that's kinda neat. This could also be enlarged and moved around. We've got all those other little things that we added. You could take it and rotate it 180 and see if you can create something interesting with that. Hide anything that doesn't look appealing to you. Think about your accents and how those could be reworked, repositioned, rotated. And of course, always be mindful of your composition. I think I would definitely make some adjustments to the positioning of these accents as well. And you may need to change them in size. And of course, you can always go in and paint more details while you're here in Photoshop. That's completely doable as well. So that was case. I'd add a layer, go grab one of my favorite brushes, and maybe put in a few details right here. Another one of my favorite things to do is to grab a shape from a really interesting area of my canvas. So let's see which one. This is the Leica, this stuff over here. So you could just select an area, copy it, paste it. And then you've got an element that you could position elsewhere on your canvas. Let's bring that above that. So that's quite interesting and make a duplicate of it. And that could be used elsewhere. It could be something. So to me, this is just like a playground. It is so much fun to go through and do some experimenting. I could spend an hour doing this and produce a half a dozen other artworks just based on this set of layers here. I'm sure I would definitely move this gold. Maybe get rid of some of these lines, and consider doing different kind of blending modes to make this a little bit more interesting, I think with these white lines I have here, I might try and subtract here. Just turning them from white to the dark brown. That kind of is a nice effect. I'll just quickly check a bunch of them here. Yeah, I think subtract here is my favorite. And we've got quite a bit we could do with that layer if we wanted to. So I think off-camera I'm going to continue to do a little bit of work on this one. And in the final lesson, I hope to just have a bunch of examples for you on mockups. But let's take a look at some of these other ones that I had going on. So this one I think or is it this one? No. Actually, I think this one or a derivative of this one was what I used for my petals. And you can see all the different experiments that I went through here showing hiding layers, changing the blending modes. So that's where it started and that's where it ended. And there's some really nice sections in here that could definitely be developed further. This one actually really like some of these darker sections in here. So I pink it would be fine here to experiment with possibly bringing in some more dark areas like that or enlarging to change the proportions of the areas to give me a better composition. These little goal of squares that I did, I really quite like and feel like could be used on a couple of the other documents. So one of the things I've done in the past is to put these in their own folder, duplicate it, to get outside of that layer, group, flatten it. So then the clipping mass are applied. And you'll see that if I move this V for my move tool, that's a complete duplicate. So the good thing about that is I can now take these flattened individual items and copy them, paste them, maybe take them into another document. But I can then moved the component to another spot, maybe rotate it so it's not so obviously a copy, enlarge it slightly. You can even bleed it off the side. I think that one actually might be really nice on this document. So that could be a just a component to add to this one. Might be nice on that little section there. So you can mix and match, take stuff from one document to another and come up with some really pleasing designs. So that's what I'm gonna do all spend the evening coming up with some other ideas or some other layouts that I've created with these components. So they have gone in these three documents. And remember that my original goal was to come up with 2224 all in a collection that was very cohesive. So we'll have at least four different color groups as part of that collection. And the collection we'll all kind of have the same components are the same luck. And I'll meet you in the last lesson where I kinda review all that stuff with you. 8. Prep for Export and Wrap Up: Well guys, I think we've kinda wrapped it all up. I hope you enjoyed this class and I hope you liked these mockups and I'm showing you now one of the best things about doing a project like this is seeing it actually on a mock-up to really visualize how that might look in their room or as a really good sales tool if you're trying to sell that piece of work. At this point, it's ready to be uploaded to any sort of POD site. I'm submitting it to my agent and he's going to be trying to sell the work for me. So this is the type of file that I start with. You saw me produce these. I would rename my painting and go into the Meta tags. The shortcut for that is Command Option Shift I. And I've got the information in here. Generally, once I make the first one, I would export that template. It saves into my Meta tags folder. So that's way down in my library somewhere. I saved the template because it's got all the information here about the size, the colors, any other description I can put in their mind leave anything that might make this searchable when these are on POD sites, often that's how it is searched out. Somebody would be looking for an abstract, certain colors. He would type that in, and that would lead to this information on your document which is hidden, but it's still part of your document and it's really required now, I absolutely have to do this for my agent because of the way he sells my work. But this is as a ruler, really good thing to go ahead and do. Make sure you put your copyright information in here and say, okay, then I always keep this layered file. I save it into a folder of my large layered files. I save it out flattened. So this would be the image I would send him. So it's at the required size, whoops, Command Option. I will give me my image size and that gives me the resolution and the size. Generally, this is adequate for this particular use. Make sure you check that. I know, for example, that if you're uploading to society six, for some of the really large things like shower curtains and stuff, this isn't quite big enough for you have to go 9600 wide. And then the last thing I usually do is save this out as a thumbnail, 1000, 100 pixels wide. So do Save As. And into my thumbnails folder, I would just add a JPEG. Can I actually have an action for this that I use when I have a whole bunch of them done, I'll go in and I'll just play my action here, which is 1000 pixels wide, exactly what I need. And I've actually created a droplet. I covered this in my automation course like this helps to streamline the process. Remember, I told you I was doing 24 of these at least, and I'm about halfway there. I told you in the last class was going to spend an evening. Well, I've actually spent like a week producing all of these artworks that just went for it. And I know I've got a busy few days coming out, so I wanted to get it done. And usually once I have all those layered files, so the original layered files that I had, I don't know if you remember, but the other ones, we had several different possible compositions within each of the documents. So I went through and just carry them through to be completely finished so that I was ready to start outputting them. So what I did was a series of about four in this color, for this color or in the reddish color. So I have another kind of rusty brown and green one. And I was able to create, I'm not quite done, but a full collection. I produce a whole bunch of these and I think I told you at the beginning that I was kinda Amy towards 20 to 24 pieces and I ended up doing about 30 of them, believe it or not. So if you set up the files the way I do with a bunch of different options on them that usually you can mix and match and create a bunch more layouts. And that saves you a lot of time when you're doing this kind of production for art licensing. So if you haven't done so already, make sure you hit that follow button up there. That way you'll be notified if any of my classes as I release. I really appreciate any of the comments that you have and I would absolutely love to see your work posted here. That really makes my day when I see a student who's actually follow through and created some of the work using my techniques. Make sure you check out my Pinterest sites that I pointed out. The one is Dolores art, Dolores now sprint and the other one is teacher Dolores gas grid. So I've got lots of resources there that I've used over the years with my teaching. And of course I've got all of my favorite kind of things pin there. So check out my art inspirations board for sure. If you have any questions or comments, please post them in the discussion section. And yet checkout my stories I've thought artwork at Society 6 and are aware hearing Canada. And yet my website, so Shop dot, dot, dot ca. Thanks so much for hanging out with me today. I really enjoyed the process. See you soon.