Abstract Large Wall Art in Procreate for Art Licensing or POD includes Brushes, Glitter and Gold | Delores Naskrent | Skillshare

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Abstract Large Wall Art in Procreate for Art Licensing or POD includes Brushes, Glitter and Gold

teacher avatar Delores Naskrent, Creative Explorer

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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

9 Lessons (1h 17m)
    • 1. Intro Abstract Art Large Wall Art in Procreate for Art Licensing or POD

    • 2. Overview and Inspiration

    • 3. Color Mixing and brush Analysis

    • 4. Blocking in the Initial Abstract

    • 5. Adding Additional Details

    • 6. Gold Trim and Accents

    • 7. Specialty Brushes and Effects

    • 8. Finalizing and Finessing

    • 9. Conclusion, Mockup and Next Steps

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About This Class


In this course, Abstract Art Large Wall Art, you'll learn how to create your own abstract works of art. Even though I am using the Procreate 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 able 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 creativity 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. Level up your art practice 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 (by doing the research I suggest in Lesson 1), and a desire to learn how to create these digitally. I show you how to mix colors and use brushes, as well as import backgrounds and the brushes provided. In this course we will be creating 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 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.

In this class I’ll walk you through:

  • my step-by-step method for making seamless patterns in Procreate
  • tips for creating compositions for a really varied and appealing pattern repeat using brushes
  • my workflow for use of layers and other great features like snapping
  • adjusting patterns to perfect the flow and adding elements in the second iteration of the design
  • fully seamless watercolour background creation
  • methods for keeping the swatch fully editable for later adjustments and recoloring 

If you’re an aspiring pattern designer with a good basic knowledge of Procreate, you’ll be able to go through all the steps. This class will benefit anyone who wishes to simplify creation of seamless patterns and methods to improve efficiency.

The key concepts I will include:

  • review of my brush alterations and adjustments
  • a look at Procreate brushes and their various idiosyncrasies
  • approaches you can take in your creative work

This is an ideal class for you, even if you are not sure what you will use the pattern for, whether it be for fabric design for sites like Spoonflower, scrapbooking paper, custom web graphics, or whatever! Learning new Procreate workflows is always desirable. I guarantee you will create something really appealing, and it’s so much fun, once you get the hang of it!

Intro to Abstract Art Large Wall Art in Procreate

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

Lesson 1: Inspiration

In this lesson, we will look at a bunch of inspiration to get your creative juices flowing.

Lesson 2: Color Mixing and Brush Analysis

In this lesson, I will break down the complete process of creating your own custom color palettes with 2 different methods. The first will derive the palette from a photo we source then save into the photos app. The second method involves mixing 4 base colors with white or other tones using blender brushes, and we do the mixing right on screen to create a custom palette.


Lesson 3: Blocking in the Initial Abstract Shapes

In this lesson, I will explain the settings and sizing of the brushes. I will show you some of the key techniques I use and explain every step of the way. By the end of the lesson, you will have the beginnings of a lovely layout with plenty of interest, and you will know how to use most of the brushes in the accompanying download. The goal is to get something down on the canvas as a starting point. Throughout the class, I will show you many ways to blend and add texture just with the use of brushes.

Lesson 4: Adding Additional Details

Throughout this lesson I talk about the different things I do to add interest to the layout. We explore blending modes more and the hue and saturation adjustments, as well as strategies to use to make a collection cohesive.

Lesson 5: Gold Trim and Accents

In this lesson, we start getting to the finishing touches of the final artwork. You will see me use several different techniques to add interest and detail. I show you the adding gold and glitter accents, and I explain the clipping mask use. We also add some watercolour and canvas texture at the end.


Lesson 6: Specialty Brushes and Effects

At this stage, we pull our layout together, and I will correct the small details that make it work. I make many other small adjustments and we take a quick look at layout adjustments and talk about next steps. This is the last step, and in this lesson, I will be wrapping up. This will show you just how versatile this technique can be and how valuable experimentation is in your development as a painter.

Lesson 7: Conclusion, Mockup and Next Steps

We will conclude everything in this lesson. I show you a couple of quick mock-ups with the pattern and we end with a chat about next steps.

Concepts covered:

Concepts covered include but are not limited to Procreate abstract art design, layering, transparency, Procreate canvas settings, art licensing info, adding accents, adjusting Procreate brushes, sizing of documents and brushes, composition strategies when producing large abstract pieces, adding texture brush stamps, procreate brushes and glitter and gold accents for adding interest, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending modes, and much more.

You will get the bonus of…

  • 1 hour and 10 minutes of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • 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, 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, Patton, Trends, Metaverse, Evergreen 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... See full profile

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1. Intro Abstract Art Large Wall Art in Procreate for Art Licensing or POD: Hi guys and welcome. My name is Dolores task wrench and I'm coming to you from sunny, Manitoba, Canada. Today's class that I'm bringing you is on how to create abstract art in procreate. I have had another class on this subject, abstract art in Fresco. So in that program, Adobe Fresco, I was able to get that national media lock that I was really after. I wanted to do this so that it mimics my natural media that I use. And I was able to accomplish this in Adobe Fresco, but I just wasn't able to do it in procreate. That was until I started learning a little bit more about brushes. I've, you know, I've been on a brush creating jag for the last couple of months. And I've also been working on this other set. I've been creating a bunch of different types of brushes, and I've learned so much more about the brush settings. So the brush studio has become my friend instead of us just kind of a scary place that I didn't want to go. I've learned how to create brushes that in my opinion, really mimic the data, how media that I was using, acrylic paints and oil paints. And allowing me to do this sort of mixing and blending that are inherent with those two types of natural media. So I'm pretty excited about this. I have really loved to use an appropriate program and I just, this is the only thing that I wasn't able to use it for. So I've been doing a bunch of products hits and I've created a bunch of art that I'm going to be submitting to my agent for art licensing. I've created a full collection and I really want to share this with you today. So we're going to be covering everything from that initial inspiration and design, creating color palettes and doing some color mixing right on our screens, all the way up to adding some accents. And then everything that you need to do in order to submit to an art licensing agents. I hope you'll get as excited as I am. Are you ready to get into it? All right. Let's get started. 2. Overview and Inspiration: Hi guys, welcome to Lesson 1. As always, I'm going to start BY clause with a bunch of inspiration. Let's get to it. So as I often do when I am trying to inspire you, I take you into my Pinterest site. And this Pinterest site is my research dollars NASTRAN. And in there I've got quite a few different boards that you can take a look at. The main one I would say, is this one here called art inspirations. And it's got, I think, over 4 thousand pins. So even if you don't go to any of the other boards, this is a good place to start. So you can see here that I have pinned quite a variety of different sorts of abstract art. And that's the thing about abstract art, is that it's such a wide, wide, wide range of different styles and types. There's everything from mixed media here to representational art. Even though it's abstract, it represents, let's say trees or landscape. There's a lot of collage that I can see in these examples here. And really anything goes with the abstract art. And I've created quite a different and varied range of abstract art pieces. I'm not going to be specifically targeting a particular look here. What I've been planning or what I've been working on is a call out that I got from my agent. That kind of happens at this time a year we get specific sort of requests from manufacturers for different types of work. And these companies would include places like Mughal graphics, PI, creative, Bentley, Hart Publishing, patent, world art group. And these are all different sites. Sandwich, I have been selling my work. I decided I'd go and take a quick look through each of the sites because things change over the year. So what may have been here last year or when I did my trend forecasting classes may have changed and there's always something that kinda stands out to me, you know, something in particular that is different or something I haven't seen a look maybe that I've just become interested in and decided I'd like to start exploring. And each of the sites kinda has, I would say it's own look or its own feel. When you start looking through these, you're going to also see specific artists that seemed to be very popular on that particular site. And that's always a good way to start looking for references as well. So let's say an artist like, well, let's say this Stacy wolf here, if this is the kind of work that you might be interested in doing, and this is looks like a pretty attainable sort of a style than it might not be a bad idea for you to search up that artists just in general, like a Google search on Stacy wolf, abstract art, for example. And you might find a bunch of really neat and new art that she's doing. I can tell you that when I submit art for licensing, I might submit 20 pieces and maybe only three will make it to the site. So it's not necessarily their complete range that you would see here on a site. This is another one of my favorite haunts when I'm trying to find inspiration. The site I find always changing. There's always neat new stuff and there's always new stuff by artists that I really like are really follow. And here you might see kinda bigger collections like for example, this work by courtesy. I don't know who that is, but there are a number of pieces here by this artist. So you can take a look at this work. And again, I see this as being something that's quite attainable. This is a technique that I've used quite a bit and its kinda like a scraping of paint across a surface point where it's almost dry but it's now quite translucent. And you can see details that you may have placed on the canvas beforehand. Or you may see colors that were underneath. Sometimes that paint is left thicker, sometimes it's pulled and is quite thin. And you can see that this artist has used this technique a lot. And that she really loved these color blocked kind of areas or art components that have been made using that same technique. So this artists could have covered one complete canvas, let's say with the green, and then take it an isolated these shapes and then combine them together on another canvas to create four pieces or three pieces. So that's one of the things that I also think is a great practice and a good way for you to get more mileage out of the art that you do create. You can think about the idea of creating multiple pieces based on the techniques that you're going to learn today. I just want to see what art they have here if I have licensed a bunch of art to them recently, so I don't want to see what is listed here. A lot of times, even though they may have licensed 20 pieces of mine. Maybe only three of them show up on their site and the rest of them, they happen a catalog that I guess if a client of theirs is requesting your particular look at, let's say they landed on this look here. They wanted to see more than the company BI creative in this case, would send them a bunch of different examples that were in my original collection. I generally will do a minimum of five pieces that go together. So I know for sure that with this one that has the blue and the gray and then the gold kind of accent that I did for sure, five pieces of that. And I remember this grouping with the leaves and textures. That was one I did last year and I did probably 10 to 12 pieces of that one. So and this is just one of the publishers. Now, when you go to this PI creative main page, it's great because you can go and take a look at the collections or the new releases and trends. So if you were curious about trends, you could go in here and you would see specific things that they're talking about for a particular season or a particular time. These are monthly and generally you'll find two or three different categories for each of the months. So this would be their modern minimalist. And I really like this. This is so nice and I think this is something I would have so much fun creating. And then you can see all of the artwork that they've got in this category. So if this is what you like, this is a great place to find resources and examples as well. Bentley publishing is somebody completely new that I've just started to work with. And these were the pieces that they have licensed. So there's a bunch of one particular look like this color scheme, then there'll be these. And of his price of $16 just represents the lowest price item. I think a paper print that they sell here. Or if you're curious and you do want to see more sizes or find out more, you would contact the company directly and then they would set you up. Here's the guy Tony Barrett, phone number and they would set you up with, I'm sure a bunch more examples of the work that I've done. So this one kinda reminds me of bass creeping that I was telling you about. So I may have incorporated that when I was doing that particular collection. And then here's a bunch of the sort of marble that I did with a gold kinda of an accent. And these are actually a couple of years ago that I did. So I'm surprised that these keep getting licensed, even though I think I've mentioned it in other classes. This was one of the looks that my Egypt sets me Well. There's so much of that going around. You don't really have to do much more of it, but it seems to be getting picked up even now, two or three years later. Then I did this bold graphic look, and I think I've got one of these on my title for the class. So you've probably seen this and you've probably seen it in one or two of my classes. So you can see here how it works is usually four or five pieces that are somewhat looking like a collection. And they have westerns, a lot of my work and I think on my last royalty payments, they were one of the larger amounts that are received was through this company, Bentley and I think the other one is patent that sells a fair bit of my work. These are just all different things effect on the aren't necessarily all abstract. And then patent is another company again, the our wholesale, so they don't necessarily allow me to go in and see what there is here on the site, but they carry a fair bit of my work. And then the world art group is another one. And this is one that has a lot of really beautiful, very different types of abstract art. So this would be something to check out if you're looking for inspiration. And then let's go back to interest here. And there's a couple of boards that I have that aren't the art inspirations. This one here is the acrylic and oil PT category. And again, there's a wide range of different types of art that would be still considered abstracts. Like I said, even if it is quite representational, obviously here we've got lots of leaves, vines, plants, but it's still considered abstract. So this may be more the look that you like. And once you click on that, you'll get a ton of other examples here and different artists that you can look up and see more of their technique and so on. Personally, I love these really basic abstract pieces like this one here I think is super interesting. That's something that I think is quite attainable no matter what level of art that you do or level of skill that you are right now. This one, I think it's fabulous. I've seen quite a bit like this that I really love. We go back to my art inspirations for it here. I think I had pinned a whole bunch by Lynn Sanders. So this is an artist that you could look up. Lynn Sanders work, use really great lots of shapes and lots of different techniques. You'll see tons of different textures in there. Sometimes she incorporates kind of a foil look. And that's maybe just part of what I am trying to create with this class. So there's going to be a lot of different things that I show you. You could try looking at something like this. Ashley homes. I've taken a look at her work and it's also really nice. And what I do like about hers That's so great is the color scheme that she uses. So she seems to have a very good handle on color and what works. And really all of her work could be in a collection because all of it is just so cohesive and I really admired that when artists can come up with a look like that. So check out these different artists. Checkup these boards on Pinterest and make sure that you do a full exploration before it you actually start putting your ideas together. Because I think the exploration, just, besides being just fabulous eye candy, it really gets you geared up and thinking in the right vein for this sort of work. I usually like to spend a fair bit of time. I'm going to start this whole process of creating some different looks and something that I would like to work on. And I'm doing this at the same time as I'm preparing my art licensing trends classes that I do. One of the things, for example, that I would get from my agent is something like this. This was given to him by one of the companies or can't remember, which May 1 be world art group. And these are the color trends that are coming up now when you see these color transfer, this shear and you take a look at some of that artwork. You can see how this information that we're getting can feed what will be then considered the look or the color for the next year coming out. So it's important for you to do this research so that you can anticipate what might sell. Well, actually loved this one where it actually shows some really great abstract art on the walls in the rooms that would then be color inspiration for us to create more. And look at this as far as color, and look at what I've got in the background here from one of the publishers. And you can see that that is really trendy color scheme. That is obviously something that we could work towards in creating so that we've got our answers to these requests by the publishers. Now if you're doing your own publishing, if you're selling on a POD site like Society 6, for example, or Redbubble, these are still super relevant and you will find that if you go to those site, you'll find a lot of trend forecasting happening already. Some of it I've already researched and looked out for my class. And you'll find that a lot of these are overlapping. And that's where you really get to figure out what is the trend and what can I do to create art that is going to meet with this year's or this upcoming years trends. So that's the inspiration for today. And I think that's it for this lesson. And I'll meet you in the next lesson where we're going to start working in Procreate. I'll see you there. 3. Color Mixing and brush Analysis: Hi guys, welcome to Lesson 2. In Lesson 2 here I want to talk about color palettes. So we're going to be creating a couple of colors schemes and we're gonna do some mixing right here on the screen. Let's get started. All right, so I want to show you a couple of different ways to get your colors. And I want to do some of that color mixing, like I said on the screen, but I went to my colors board on Pinterest. And it's just kinda flipping through. And I've saved a few things recently because I've got that class coming up on looking at all kinds of trends, which will of course include a lot of talk about what will becoming out for color in the next couple of months and leading into next year. So the colors that I'm kinda thinking about, or something like this, I like this range here, That's one of the color schemes. I like. I like this as well. This is one that when artists that we were looking at kind of works with this sort of color scheme. And that's something that I would be interested in whenever I want to create a color scheme or palate, then what I'll do is I'll pass see something like this that I like, I'll save it so I have to kind of lift up my iPad here, the weight, the cases because it'll kind of prevent me from pressing the buttons when it's fully down. So this is the one I'm interested in. So I press the volume button and the main button, and that gave me the screenshot and I'm going to use just kinda zoom in bond the scheme. I could just choose the color scheme here, but I like using the picture as well because you'll see it'll come up with a bunch of other colors that are related and they're in the picture. So I do it this way. I hit Done, I save it to my photos. Why don't I want to be able to take the picture and derive a color palette from it. So what I can do there is I can go to palettes here and go to the top, press this plus sign. And then I'm going to do a new one from the photo. Choose the photo, and you can see that that color scheme has come up. So I could do the same thing with this other one. I don't think I press the right one there. Knew from photos and this is the one. Okay. There we go. Yes, I had done the right one and it was his partway down on the list. But anyways, Yes, Here's a good way to choose your palettes. You can end up with too many pallets to delete extra palettes to slide to the left like that, and hit delete and you can get rid of any of the extra ones that you have. This is one of the ways to start. Now, another method I really like is being able to mix the colors here on the screen. Because I think sometimes that gives me more specifically what I personally want as colors to work with. So what I would do here is put down a few of the colors that I'm thinking. So in this case, both were kind of the colors from that photo. What are the photos that I had? So that second one that I was showing you, I've got sort of the main color categories that I'm picking out for the pieces that I wanted to produce. So in a case like that, then I would use some of my blending brushes here. And this is a new set that I'm developing called abstract paintbrushes. I guess. Abstract brushes. I haven't completed it. I'm going to be adding more, but I've got quite a huge range already. And I've got some blending brushes here that I've created. And what they'll do is help me to create that sort of mixed color that I may be looking forward to add to my color palettes. So because a bunch of different ones, there's so many that I can show you here. Let's just start with a couple of just blenders. Let's just use a soft buttery blender and you'll see that what happens is when I use it currently I have this color selected, so maybe I'll just go over here and mix. And you can see that as I'm using this blender, I'm creating a different tone here. So this is basically, let's see if we did white. You can see that I'm mixing white with the color and it's creating a different kind of a color right there. So this was basically the same color selected. And you see I'm mixing and getting some different tones in there. And if you want to kind of judge the tone, we look at this color dot up here. And when I sample rate from one of these colors, you can see that I've created a really nice new tone there. So I could use that white again. And I'll just sample the white background here and mix. And you can see that I'm getting kind of a lighter tone. So there is the full tone and then there's the lighter tone of that particular color. The good thing about doing it in this way is that whatever colors we now create from these four main colors, we know these colors will be really cohesive because they're created from the colors that we have here. So we can also take that color. So let's take that kinda rusty know what you'd call this a deep coral color. And you can take it and use it to mix with your yellow. So you see it here. We've gotten another tone in here, and it's kind of a yellowy. If I were to take this now and painted. I've created this really neat new tone from there. And I could do the same thing with that color in here. And you can see these colors now that I'm starting to formulate. And by the end of it, I bet you, I will have a palette very similar to this. So let's try a different blender now and see what we can do this when I call the blender effect. It, you can see what's happening there. It's just, it's just doing the same thing. And you can see that there's a different tone that's kinda being built in here. Let's take this. And you can see here that if I were to sample that color now and brush it on a lighter tone of this. But darker than this, if that makes sense. And let's try this one here. But we're going to mix it with this one here. This would be good if I switch to the actual blender and take a look at these tones that are forming in here. So let's take that. And that's a pretty neat new color to that. We've got, so that's that color. That's that color. And then in-between with God is color. We've developed this one and this one. And look how cohesive those are. I think both work just scraped together. So now let's take this yellow again and we're going to blend it with this green a little bit and see what we come up with here. Now with these blenders that I've created, the amount that I press down will give me different sort of tones as well. Let's try this old brush color. I can add whatever color that I put on my brush. So in this case I've got that yellow and you can see here that I'm like a really liquidy blend. See that? So there I've created a really neat kind of a yellow green, but I'm going to try taking that green and going lighter and then mixing from there. So there's a really neat green that I could use. Let me paint that one down. It's going to put that one down to what we have it. And I'm going to try that soft buttery blender this time with some yellow. And I'm going to mix that little bit of that yellow in there. And I've made a really nice sort of a khaki color that I can see myself using. So I really like that in the greens. And then the same thing I would do all this process over and over until I get a really good palate to use for my painting. So let me try this out of a soft, peachy color and I'm going to leave, I will paint it right here and then use that blend, Terrific. And see how that forms a really nice set of colors in here. So let's grab one of those. That's a very nice contrast to this. I'm going to grab yellow this time and I'm going to use I'm just trying to use a bunch of different ones here just so that you can get an idea. Let's try one of these flat glazers. And that's another one where if you don't press too hard, you can get some different tones happening. And you see how as I'm working over on these other colors that I can change the color forming kind of an in-between color. I'm going to try and sort of peachy color. And let's try a different mixer here. It's buttery blender again, and I think that's going to be a pretty nice color. That kind of works in with these more than anything. But almost like a shader. Yes, I like that. And we've got our dark brown. Let's put that over here. You know, it's a lot like that one. So maybe what I'll do is grab a pure white and see how that might work. Now the other thing I've done with these is to just slide right across. And you can see there that you can build some colors up that way. So here that might be a good color in here, sample in here, and that looks a lot like that one. So I want to end on it. It's a little bit more party-like. So let's get the so it may be still a little bit dark, but that's okay because I think with this grouping here, I produced a print he'd good palette that I can create for myself. So now what I would do is go into my color palettes here, add a new palettes. And with each of these colors, I'll just sample it. You'll see it'll come up here. I'm going to actually pull this down and maybe I can do it this way, keep it open as I'm working on it so I'll sample the color and then I just tap into the square. And you can do this strategically so that you can arrange to have all the greens together then all the rusty colors kind of together. And this is another way for you to create a palette. So for me, this is a great start to the next step, which is going to be to lay down some areas of color that we're going to use to start out our abstract. So I will see you in the next lesson where we're going to start doing that. 4. Blocking in the Initial Abstract: Hi guys, welcome to lesson 3. We're going to start blocking out our abstract here. And you're going to be learning a little bit more about the brushes that I use. Let's get started. So here's a quick look at that Pinterest board, again that we use for getting some inspiration. This board to get me going for days. Honestly, there's so many different ideas that we could try here, but I think I'm going to go for something a little bit like this. I'm not going to be doing the same colors or anything and my work is not going to show and look like this. I can tell you right now, but I really like a lot of stuff about this and I think it's going to be my inspiration for what I'm doing today. So let's go back into procreate here. I've got my blank document and I've got my palettes. And what I'd like to do first is to just start laying down some color. Because I think for me, I find that getting some color down here is what really gets me going. So these are the colors that we used or looked at in that last palette. I'm going to go back to the other pallets there as well and just take a look at what I might want to use as my starting point. So that one that I did from the photograph, I like, there's just so many pallets here to choose from, but I think that this is the kind of color scheme that I'm going to be going with. So I might as well just leave this one. What I'm going to use this one I guess because I do want to get some of that green in there. I like all of these colors together and I've used these before. It just feels like you're really comfortable palette. So I'm going to probably working between these two here. Let's just start by laying down some of the color. And I'm going to start with the green. So green is just a color that I think I'm going to be working with a fair bit this season. I'm not sure that all of the work I do will be using this color scheme, but this is just, this is what I'm going to start with today. I wanted to show you a couple of the other works that I have done and I did a whole series in this color scheme here. This is something that I done. I think six pieces like this. And when I'm putting together a document that I'm going to use for producing a bunch of stuff for art licensing. It often looks like this where I've got several different ideas. This is started out with some big bold black circles. Then I added some of the blue. I've got this brush made that allows me to do this mixing that makes it look really like it was wet on wet, lot of sort of mixing colors. I'll show you that those brushes in a sec and then just, you know, adding some additional features was the one and this was another one that I did. Third one, I'm not quite sure how I finished those all. Try to get a look at that after, maybe towards the end of the class here we'll go through and take a look at some of the pieces that I've produced in the last few weeks for art licensing. And to believe me, it's been really spread out because I've had a lot of other stuff on my plate. So that was one of the ideas that I explored using this new brush set. This was another, So that was a grouping. Again, started with some big circles, but just finished at quite a bit differently. And that was one of them. There's another one, height of watercolor, I guess you'd say like really bold abstract watercolor. And there's another one there as well. And I've incorporated tons of texture. You can see some overlays here that I've added. That would be without the overlay and that's with it. And that's without the texture, and that's with it. So these are things that I'm also going to be experimenting with, with this illustration or a painting that we're doing. So let's go back to our document here and working with the very large document size. It's my standard half size, 24 by 16, which I can enlarge to be 48 by 32, which is the size that I submit for art licensing, what this particular agent. So let's just start laying down some color and I'm going to be using a brush that I call my old host paint brush. This one took a bit of developing, but you can see what it does is a very big stroke. And it's like a very old ratty paintbrush that has a lot of the bristles kinda stuck together. And that's sort of, I don't know what I feel like I need for this particular style. So I'm going to lead down, let me just bring that pellet back out. I like bringing my palette out like this when I'm doing this kind of paintings, I don't want to have to go back and forth into my color picker here all the time. I just find that that stymied me a little bit. It just it's disruptive. It messes with my flow, so to speak. So in order to bring it out, you just show it here and then you can pull it from the top and you can still get access to your color wheel or you can get your ramp for now, I'm just going to work with my palette. So that's that one color lead down. Let's try some of this dark brown. And I'm kind of just randomly placing these as far as composition and design goals. I'm trying to stagger the colors and the composition. I'm going to be doing a lot of blending that's going to change this. So I'm not thinking as much about competition right now as I will be later on. So let's just lay down a bit more of this color and then we're going to start doing some blending that I want to do. And another thing that I like to do sometimes is more than one layer. So they can do some compositing with more than one to get a really cool kind of a look. And also a late varying my brush sizes here. So let's do that a little bit as well. You know, I'm not sure I want that yellow in there at all. So I'm going to sort of And not have too much of the yellow, could rather have a little bit more orange and yellow. So there's one, I'm going to do a quick second one here. We've added a new layer by clicking on the plus sign there. And I'm thinking I might want a little bit more of a teal as well. So I'm going to actually go into my picture here and slide this over to be a little bit more of a bluey green. You see that? So there's two, I'm ready to go. Let's start doing some blending. So I'm going to start with that brush color Pusher. And what this does is it takes whatever color that I touch first and it pushes it into other areas. So that's a good way to like if I sample that color green and then I just start pushing and pulling, you can see that I'm sort of thinning out the color there. And then you see how it then can mix very nicely with adjacent colors. So this is a good way to just get some unity with your piece and that's that layer. Let's go into this one here. If I want to color on it, I gotta make sure I select it. And remember my inspiration piece that I looked at was a long areas of color. So I'm not sure I like that color there actually, so I'm not sure how much of it I'll end up leaving there. Now, was there a right way or wrong way to do abstract art? I don't know. I just go until I feel like I'm satisfied with the piece and doing a lot of research and having created abstract art over many, many years. I think I've just developed design AI for it. And when I talk about something like the design, I, it's just something that you develop after doing a lot of research and a lot of following of this particular technique. And it's for any technique, It's really important that you go through and the study as much of it as you can. And that helps you to develop what I call that design I, so I'm able to that blend terrific now. And I'm going to start blending some of these areas together a little bit more. Now remember at the moment I've got that color selected. So if I want to go a little bit more neutral, I'll go a little bit more white. And now I'm just starting to just think more in terms of how this might look when it is completed at the moment, it may not look like much, but you'll be surprised at how could we can have this look once we carry through and do a lot more with our design. Now sometimes they worked completely to the edges of my document. In this case, I'm making an effort to not do that. What I'm trying to do is have a little bit more of a frame around it with the whitespace. And something like this could easily be adjusted later on to even out like that. And let's try experimenting with a couple different tools that I have created. I've created a bunch of palette knives and they work in very much the same way as this blend horrific where they're kind of interesting brushstrokes that I can use to just make what I've got on the paper or on the canvas, I guess, so to speak, make them more interesting. So I'm doing a little bit of that here in there. So that's fat layer, little bit here. I really had fun developing these pressures because when you have something in mind like a pallet knife and you're trying to figure out how to create it. You sure do a lot of experimenting with your brush studio. And so with that, I learned a lot. Of course, I've got the white still selected here, but let's select maybe this. I'm actually going to go into that tissue again and you can see how that works just like a pallet knife. You see how we're squeezing and pushing paints along. Maybe we'll go lighter here. And these also respond to the amount of pressure I put down. So I can get a really solid look or I can get just a very sort of in coding of page by how much pressure I put on the brush. All of these brushes also have a ton of texture built-in. So I like that as I'm doing this, I'm adding more and more texture. And in a case like this, you see how, you can see a very obvious kind of a pattern here from that previous brush. Then adding another level over top really starts to make it look more natural. So let's try this other layer as well. We'll add a bit of palette knife to get, oh my gosh, convicted. Remember that to actually select the layer. So it's quick doing it this way, having your palettes show and then just tap selecting or choosing a new color, sampling a new color. And this reminds me of just having a whole bunch of mark making tools handy and being able to quickly switch between brushes, your palette knives to start adding more and more interests. So which one have I not used? We use this one. So this one is a good sort of a blend out knife. And then you'll sometimes, what happens when I'm creating something like this is I'll just find sections that I end up being able to use to create a bunch of pieces for art licensing. So I might not necessarily use the whole piece. And I'll usually do a bunch of layers, not just two, because what I like to do afterwards is to have them both showing and then do some experimenting with the different blending modes to see what sort of a new piece I can create just by blending it. So There's probably three of them there that I would have considered quite usable. That's quite pretty. That's quite pretty. This was really interesting. This ends up being a different color scheme that I was going for, but a lot of those are really great. So in a case like this, we might use some other tricks with the blending modes. And this is something else saved for some of the upcoming lessons, but I think that's it for this lesson, and I will meet you in the next one. 5. Adding Additional Details: Hi guys, welcome to lesson 4. In lesson 4 here we're going to be starting to add some of the details. Let's get started. So here in my document you see I've added a bicycle layers off camera here. And that's because I want to show you a bunch of different effects that we can get with the layers. So some of these layers are basically just spots of color or texture. Different palette knives that I've used, that sort of thing. And I experimented by going through and trying different blending modes on them to see what I like, kind of getting away from that original color scheme that I wanted. So one of the things I want to show you in this lesson, and I've got a lot to cover in this lesson. So I'm going to try not to ramble too much. But one of the things I wanted to show you was that once you do have a layer and you have a blending mode selected for it, you can go into your hue and saturation adjustments here for the layer. So this is the one we'll do, humans saturation for the layer. And you can go in and make adjustments by dragging your hue slider down, changing the saturation, and changing the brightness. So you can come up with some really cool other color schemes. Or you can try to bring it back to the color scheme that you like are working with. So this one, I can't seem to make any adjustment that gets rid of that yellow there. And that's because of the blending mode I've chosen which has overlay and this one here which is hard light. So I might in this case go in and change that blending mode. Or what I can do is also go in and just look at what parts of this are working and giving me the color scheme that I want and what parts aren't. So it looks like whatever was kind of that orangey color in there wasn't really working. So I could either go in and cover it up with a different color. So we could go back into my abstract set. Let's get that old house paint brush. And I can see that the green works really nice and any of the brown. So let's just try painting over that yellow with the brown. And we'd have to get a different brown. But that maybe brings it back a little bit closer to what I want. So that's one of the ways that you can work with those layers to kind of affect the overall look of the color at the end. So that's one of the adjustments that you can start making at this point. So sometimes once you add another layer over top, it will kind of neutralize whatever you've got going on. So that's one way as well. And let's maybe kids turn that one off and, uh, come like this set of colors that we've got going on here. So this might be something that I would just reduce the opacity on. And you know, you can really go through and make a lot of really cool adjustments. Once you play with these blending modes a little bit. I would suggest that you make a bunch of layers like this and then just do some experimenting. And when you decide on a look that you like. So for instance, this one which is lighter color and then it's combined with an overlay and then just the normal. And if that's the look that I like and I would take note of that and make a bunch more that looks like that. So I might then go in and change this one to lighter color to see if in fact gives me that same feeling. So I think it kinda does, right? You look at this one and you look at this one, maybe if you were to change that bottom one, this one here, which is similar to that one in the first place, change this one to back to normal and the lighter color working with that can be very, very interesting. And again, think about going into hue and saturation and making adjustments there to get to the color scheme that you like. So that's one of the ways that I would work with colored, trying to figure out how to get it to those colors that are really like. Another method is to add some of the texture overlays. So this one here is his kind of little fibers. And that you could also go in with hue and saturation and make adjustments. And you can see how that can affect the overall color. And then my favorite one is adding a completely different overlay, which this one I've just imported a large watercolor that I have with all kinds of different really interesting textures. Then I go in here and choose one of the blending modes. So let's say Color Burn is really nice for getting that texture in there. So it was lighter color screen is really, pretty, really, really lovely. That gives a really nice soft look to it. Very, very blue at this point. We can go in and make a change to that. So I don't know which one do you like the best, kind of like this color burn. They're going to try this screen that will, because I like how that looks. You can reduce the opacity of it. And then you can definitely go into your hue saturation for that layer and then change it completely away from the blue. You could go to a different shade, completely, more or less saturated, darker or lighter, until you get one that really speaks to, you know, I was changing the layer there. Let's go to the actual overlaid and see. And that one works really well for actually bringing the color back to a little bit closer to what we had originally set out to have. This is a great way to make everything absolutely homogenous or analogous. Now with that, you can go in and you could erase large areas of it. Remember of course, that if we're erasing, we are definitely destroying that layer. So you might want to have a copy of it. I just keep it on hand on my iPad so that I can use it. But we could go in with an eraser. That is, let's say that large house paint and erase away areas as well. Just get that nice and large. I think I would grab one of those palette knives as well, like this streaky one. And you can go in and add a lot more streaks and so on with that overlay, that's one idea. I'm going to undo all that, turn that one off, and let's just go back to this one for now. So another thing that I experimented with was just selecting large areas. And let's go to this one here. What I did is I used my freehand selection tool and just kinda borrowed a chunk of it like this. Selected it, copied. And I doubt that I'm going to be able to pay it because I think I've reached my maximum layers here. But what I did with these shapes here, and with those shapes, I was able to add some real interests to my layout. So something like that. Let's just pinch those together so I can duplicate this one. You can also really play with overlaps. Some interesting areas within your image. And I've got overly as my blending mode here, you could definitely go in and experiment with different blending modes. Or you could go in and affect the color. Who to put that back to normal. And it looks I've already taken color out of that, so I will appeal to show you that, but you get the idea. What I'm trying to show you here is fair meant until you find the look that you're satisfied with, that's how you develop and create a bunch of pieces that work together as a collection. So I'm going to delete these. And let's just play with one of these other overlies. Now for something like this, we had a bunch of little patches of color here in there. We could do something really cool like adding lines and circles that are just specifically hitting those spots there. So what I would do is add a layer. I'm going to make it a clipping mask. So I'm hitting the clipping mask here. And what that will do is limit where my lines and circles and things go. I'm going to choose this thin thick pen. I'm going to go to, let's say the dark greens, okay, really stand out. And you can see that as I'm drawing here, the line is only going to go within those areas that this is clipped to. So if I was to turn off this layer, you can see that whatever lines I'm drawing, you see how they're only appearing within these shapes. And that's because I've got the clipping mask. So I'm going to just put a few lines in here to give you the idea. But that can be a really effective way of adding a little bit of detail. I'm going to take the green out actually and go into a really light, sort of a just slightly off-white color. And I like how that's just showing up in certain spots. So only where I've got something on that original layer. So only what's on this layer is going to catch whatever I'm doing here. So that's another thing you could do to, is go in with textures, a texture brush, something like this, these watercolor stripes we developed in another class. Let's go a little bit grayer. So I'm going to go into the browns for that. And let's just add a little bit of that here in there. You can see how that can really add some completely unexpected detail. And I think that makes it quite interesting. I think we can also hear play with the blending modes just on that specific layer. So that's only on those texture and see how that might work to add. Next, I would like that dark. That's nice. And you can see how experimental this process can be, especially at this stage. So at some point what I'll do is I will finalize some pieces here today so that you'll be able to see what my finished look is after all of this experimenting. And I realized that a lot of times when I do this, it's not like I'm giving you a really specific instruction and that might be frustrating to some of you and I'm sorry about that, but this is really what the process is like. This is exactly how I work. I feel like sharing this gives you a little bit of insight into how artists who create art for art licensing or for shows or for whatever purpose that they have. This is literally what happens at the beginning. You do a lot of this kind of experimenting. And then eventually you land on a look that becomes your signature style or becomes the style for maybe the entire year of work that you're doing. So yeah, that's just a few of the ways of adding detail. The last thing I want to show you here is just grab all these layers that we have that we're working with here. So everything that's on here, you see everything with the checkmark. I'm going to grab all of those. I'm going to hit Group and then I'm going to delete that. I can do partakes. I think I've got too many layers, but you can work with a smaller document and you'll have a lot more layers to play with. I need to work at this size for art licensing. So that's why and I probably will end up using this document for work that I do for art licensing. But it's going to show you something else. I would take this group, I would flatten it. So what flattening does is it puts it all together onto one layer. So this combined layer now is something that we can also do a lot of experiments with, with hue and saturation. And this might be a way to really get back to that color scheme that we had at the beginning. And again, once we apply that overlay, you can see how this would be a really nice way to come up with really cohesive look if you did a bunch of the layers in this way. Now, I also like going back adding a layer and then just going in with that, let's go with a dark brown again and just scribbling some additional lines. Let's go back to a nice textured and small brush. And what I'm gonna do with these lines here and areas of color is to do some goals. And we'll do that in the next lesson. So at this point, really I'm ready to go on into the next lesson. Yeah, in that next lesson, we'll do a little bit more with the cold and maybe work with this particular color scheme. Okay, so I'll see you in that next lesson. 6. Gold Trim and Accents: Hi guys, welcome to lesson five. And less than five here we're going to be adding some of the gold accents. This is completely optional. So you don't have to take this lesson if you don't want to, but it's kinda fun to learn. Let's get started. So for this lesson, what I wanna do is show you some of the addition of things like the glitter and bringing through a couple of other things at the end. But let's start by importing a couple of metallic tones that we could use. So I have a couple of those saved here on my iPad. So I'm going to go to Insert a file. My textures here, I have a bunch of folders with different art pieces that I can use for whatever. And I'm going to import that extra large glitter. And I've created this glitter so that it fits the entire screen. And let's insert also a kind of a flat gold. So I'm going to show you the useable for those. So what I'll do is I'm going to bring up that texture down below the layer that has the gold pieces that I want to do. I'm going to hide this one temporarily. But what I wanna do first is put these lines into glitter. So the glitter is here right above the layer that I need it to be on. An all have to do here is just specify this as a clipping mask, make sure that it is turned on. And there you go, you can see the glitter there. So depending on the kind of look that you want, then you can decide whether that glitter, the scale of the glitter is too much light, too big or not. I think it's okay, but if you wanted to change it, you can just select it. I'm going to flip it to 90 degrees and make it smaller. And then you can see here it's smaller. I can duplicate that one. It's also a clipping mask and I can move it over to this side. So the scale on the glitter itself you can see is a little bit smaller. So that might be a little bit nicer for that particular artwork. And you can combine these two layers by just pinching them together and you have the entire layer filled still. Okay, now for the flat gold, I think what I wanna do is choose one of these layers to use. And let's see which one would work here. Take a look at a couple of these. A little bit hard to tell MFA. Move it to the top here and I will add it to normal. So you can see what that particular Lear has on it. A little bit hard to see. So let me turn off that layer. And so this is the stuff for just a bunch of textural lines that I think might look good in this sort of adult gold. So for that, I will do the same thing. I'll move that layer above. And again, in this case, I think maybe I need to duplicate it so that I have two of them to fill my screen. And again, you can pinch those two together and again, apply the clipping mask. Now you can see what pieces have become flat kind of gold color. And let's turn our layer back on. And you can see how that gold can really enhance certain areas there. So we're adding a lot of texture in that metallic gold. And then don't forget that gold can also be affected by your hue, saturation and brightness. So in a case like this, you might want to go to a more rosy gold and that will be kind of an interesting finish on there. I'm going to actually hide this layer and add a layer. I wanted this to clipped to this layer here. So we're gonna go clipping mask. And then here I'm going to actually paint in some large areas a little bit more selectively. So I'm going to use the old paint brush again and let's just experiment with adding spots of that goal. Then I'm going to go back to the regular color. And then we reached that went off. And let's be really selective about where we put this gold. So I'm thinking here might be a nice spot over here and a little bit down here. Now you can see that because of the size of the gold and the light and dark areas of it, that might be just way too big. So I'm going to import that again. I'll take this one has a little bit more in the way of dark and light areas. And I'm going to delete this one, make this one into the clipping mask and that you can see that gets a better variation in the color. So that makes it look more metallic and that we could duplicate and move. And I reached my maximum layers of course. So I'll duplicate after pinching it together. And then because it's a clipping mask, I can kinda slide it around until I guess gold looking the way I want it to, so we could flatten all of those together. And another thing you can do is duplicate the glitter again and bring this one up here. Let's hide this one and you can check out what that might look like. Instead, we can move it over to make sure it fits. But sometimes real punches of gold look really good. And you can again go into your hue and saturation and experiment with brightening it or changing the hue slightly to make it work a little bit better with your design. So that's another little addition. These are all little details that can be done at the end for sure. I think what I'm going to do at this point is go into my gallery, select that document and duplicated. Because the more layers I get, the harder it is. Work with, so I will take this one here and I think I'm going to delete that whole grouping of stuff that we did. So that would be this. We know it's on the other documents, so we're safe in that regard and we can go in and start experimenting with some of these other layers instead. So let's go back to one of these. I like that a lot. One of the things we can do here is grab this layer and put it over top so that we can add it in without it being affected by that inserted image that we have that watercolor look. And then here Let's add a layer and do little bit more with that goal. So I'm going to get my smaller brushes, some rigor. Let's see what this one is. Yes, that's a nice brush though, is really sensitive to pressure as far as the condensed. So you can go super thin or press really hard and gets super thick lines. I'm going to bring it down a little bit in size because I'm going to use it to make some more lines that I can make glitter with little, a little bit less scribbly than I was the first time. So a little bit more deliberate. Know if you're ever looking for inspiration on some of this extra little stuff that you can do. Take a look at the work of somebody like Guam Lee is work incorporates a lot of mark-making and you'll see how effective it can be. I'm just doing really quick kind of lines, but you can definitely go in and draw something or be more specific about how you're putting in your lines. I don't know how to explain it, but you can definitely go in and change direction or go in and add additional little bits here and there. And think about the gold and how much it will contrast with whatever color it is that's beneath it. And let's import. I'm going to get that extra large glitter again. And it's in the right position for me to just make a clipping mask and that off. I've got another quite interesting piece. And a lot of times, like I said, what I do is I go back and I might take sections of this and crop it. My final piece, I like doing this kind of experimenting, like I said at the beginning of the process because after doing five or six pieces, I get the idea for my whole a collection and that's what focuses today is on finding a look for the collection. This might be a fun time to go in and play with some different types of brushes. Let's go into my textures here, and let's just grab a couple of things that we could try. This texture ball always works really great, and that's something that I can just very quickly drop into areas here to add some different kinds of shapes with the glitter. Let's hide this layer completely, add a new layer, and then just only use one I don't want as a clipping mask. This one I do want as a clipping mask, but I've gotten rid of those lines. And now on this layer I can just use some of these texture brushes that I have to do, some really neat additions that I sat. Let's try one of these rates. So these rakes are a lot like one of those palette knives that I have. So that's a really neat way to add some texture here to remember that you can draw the line and then keep the pressure on and you can honor that it's a straight line. One might be kind of a nice way to add that texture. We could have done it with this brush instead. I don't think we need both. That might be too much at some of these textures that I created for the final block or the block art class could work. I like the subtlety though I really do like that. So maybe something like that. Let me do that on the dark so you can see it, but that's sort of like a teardrop shape. And the more I pull it is, the more spaced out. So I wanted this lesson to be a little bit more than just doing the glitter and so on. So let's now switch gears. We're going to add some of this texture. I'm going to lighten that a little bit. We'll bring this watercolor backup. And I mean, I feel like instantly when you add that kind of a layer, you create so much interest and I think it would really create curiosity. What did this artists do? What on earth is? How did they, how did they manage to do all those layers? And, you know, especially if they don't know that it's digital, is just so interesting and that's all I can say about it. It's just so interesting. I'm going to add another layer above that. And then I'm going to go in with some of my other texture brushes. So I'm gonna go into my texture sampler. I'm going to attach this texture sampler to your downloadable materials here. And let's get this big texture iser, that is a Canvas. And I'm gonna go with basically white, just a teeny tiny bit off of white. And I'm just going to add texture, make my brush quite a bit bigger. And can you see that now I'm adding a Canvas texture in here. So I'm going just around the outside edges is almost framing it in. You could do an additional layer with that texture. Actually, I'm going to clear that layer. That first layer will be just kind of around the borders. And then I'm going to do one that basically covers the whole thing. But we'll use a blending mode to apply that. So something like this soft light, you can see that canvas throughout and we can really lighten it. But you can see that if you were to look at this up-close now, you really get that canvas texture coming through. I'm starting to really like this piece and I'm really liking the colors. I think this is back to those original colors that we had put together in our mixing lesson. I would personally consider this to be pretty much a finished piece. So I think in the next lesson I'm going to show you a little bit more about those specialty brushes and explain some of the settings that you can affect. All right. Okay. I'll see you there. 7. Specialty Brushes and Effects: Hi guys, welcome to lesson 6. I know we've touched on some of the specialty brushes that I use, but I'm going to add a few more to the list here. Let's get started. I've taken you through a lot of different ideas here, and I think that we can go through and add a couple of more interesting textures if we wanted to crush concrete texture, I've noticed that a lot of you have been using this one with your pieces that you're posting either on Instagram or Facebook. And I really love that, finish that, that gives it. So if you share your projects, make sure that you tag me in them because I love seeing unfinished work if it's just a really satisfying to me. But anyways, let's add that other layer. We're going to put some of that textured concrete. Let's go with kind of a grayish tone. And again, you don't have to cover the whole thing. You can if you want or you can limit it to just kind of central area. And this is without a blending mode, you can leave it exactly like that or you could go in and I find that soft light usually gives a nice blend. So you can check that out. You can see the lines kind of going in through there might not be able to see it that clearly on the screen here. But you know, experiment, figure out which one that you like the best. Something like this, shows up a little bit better. And then you can the opacity a little bit. But you can see that now kind of going in through these areas. And like I said, I think we've got what I would consider a finished piece here. And now I kind of have the idea of how I established or created that look, I could duplicate this again so that I don't mess that one up. Then going there. And very quickly, I can make a big change here by just deleting or hiding that bottom layer and putting another layer here, we have to put this one back to normal. And we've basically got another piece that has all the exact same things that may be the first one worked. And we haven't had to do much of a difference or change. We could clear, let's say this texture layer that has the gold and then go in with another one of these textures that I have. And just put those textures in where it works with this particular layout. So you can see that this is a very quick way to do more pieces that are very much the same look and could be part of the same collection. Now something like this piece here you see that texture and I think that's from one of these overlays. I think it's this one here. No, this layer here has a very distinctive texture here. So you don't want that to be the exact same on both of them. So in this case, you might take this one and just rotated or flip it. And then that particular spot that was up here is not there anymore. So it doesn't look like an obvious copy of the original. And remember that this is another thing you can do is just simply go in and resize things or add to that particular layer. So we would be on this layer, we could add some more detail, maybe one of those really great textures from the abstract set like the palette knife. And we could go in and paint. Let's go with a dark brown. And I like that because palette knife, you can actually get some sort of laws in there like that. But that would be a way to add to the texture and making it alternate. Look, by the way, these palette knives you can actually drag from left to right as well. So that's a way to add some contrast to the original one. And here we go, we have another, what I would consider excellent piece to add to our collection. Always go through and experiment and take a look at your other layers and see if they can add anything. That's why we created those in the first place, was to have some of these options available to us when we're at the stage of design process of this particular layer as that really light area in the middle. And that might be something that you'd want to change. Let's try a different palette knife and run on should be good. I'm going to go in and just add a little bit Here in there to change up that layer a little bit. So like I said, lots of experimenting, experiment with different textures, adding overlays, doing some of the different metallic bits. And you should come up with some very, very interesting abstract pieces. And all of this can be done in a couple of hours, two or three hours of really good experimentation, and you're going to come up with some really great luck. All right, so I'm hoping that through all this exploration that you've observed me doing today, you've learned a whole bunch of strategies for creating this kind of work for art licensing. Abstract art, like I said, is something that it's very subjective. You might look at this and go, well, I don't get it. There's nothing really that I like about this. And the next person will look at this and go, oh my gosh, That's gorgeous was exactly what I want. So sometimes the important thing is figuring out what the trends are. And that's why I'm planning that trend forecasting class. And because of all the stuff that I helped been kinda researching, there are a few things that you'll see in my forecasting class that explains some of the strategies behind what I've done here. I would like to just kinda show you another few things that you can do to experiment. Learn more about what kind of work is appealing to you. And most of what I've done here in the way of overlays are things that can very, very easily be changed or eliminated. Like for example, this one here, if we were to turn that layer off, we're still left with a very interesting piece and definitely has some very interesting areas. You know, maybe cropping would be a way to figure out what kind of look works for you and what you like. Also an overlay like this. Remember, if you are going in and making some changes to it, that can also completely affect what your piece looks like. So we could just so easily tweak this to being a completely different color scheme. And one of the colors that I have seen that people are predicting for next year that might be big. And I think we had a little bit of it in this year, but this kind of a purple is something bad is coming back in, believe it or not. So there you go. There's a very easy way to change from one to another just by moving this little slider a little bit, you can go to extremes. The different colors. One of the colleagues that I saw recently, it was for abstract art with BCCI kind of colors. So coastal themed colors. And this is something that could work very well for that. This could easily be adapted, this kind of an idea to create pieces that are coastal. And that would be something like, let's just hide these two layers. And it could be as simple as taking one of these layers like this one here and continuing with that theme of using the palette knife to really bring out some horizontal kind of textures that often represent that look of the ocean. I'm going to actually turn off that these two texture layers as well. And what I would do here is probably take one of these blenders like this soft, clear blender and blend out some of that down here in the bottom to make it even look more water-like. So that could be reflections. We could go to that layer that has the vertical lines that are really dominant and pull out some of those or get rid of some of those, neutralize them a little bit. I'm going to import a file that I have loved to get rid of a layer first. Let's take this one out and insert a file that I have actually here in my gallery. I'm going to copy it and take it in here and paste. And then I'm going to just blend this one just to show you that feeling that you can easily establish just by hearing some of your documents together and create something that does answer to that call for inspired art, abstract art that is somehow evoking that feeling of the beach or the coast. So just another quick idea for yeah, I know I'm probably overwhelming you with ideas today, but I want you to just be armed with a whole bunch of information that helps you to, I guess, feel like you're doing the right thing when you're doing this sort of exploration, I want you to feel comfortable doing all of this because this is what will get you to that point. That when you look back at some of those artists that we talked about in the first lesson. You might then be able to get into their heads little bit and see how it is that they go about figuring out possibilities for another line or some other work that they could use to answer to some of these call-outs. All right, so I think that's kinda wraps up the class for today. What I'm gonna do is take a couple of evenings to do some of this work additionally and put some of it on some mock-ups so you can get an idea of what I would do to present a collection. I'll come back with that in the last lesson. Show you a quick mock-up or two, and we'll wrap things up. All right. I'll see you there. 8. Finalizing and Finessing: Hi guys, welcome to lesson 7. In this lesson, I plan on doing most of the finalizing. Let's get to it. Wanted to show you real quick how to put your artwork into a mock-up. So this is one of my favorite mockups. You've probably seen me use this before once or twice. I just love the layout in the fact that you can choose different color schemes. So instead of a blue, I could have picked a red color scheme or white, but I do really quite like that blue ones. So I think I'm going to stick to that one for now. And the way a mock-up works, if you buy from a really good source, you can find the kind that have the smart objects. So here in the layers panel, you can see the smart object. And what's really great about that is you can just double-click on that smart object and you'll be taken to the original document here. Usually they're labeled PSB. So if you look up here, you see PSP, that is definitely correct. And then you would just paste in your artwork. Now, in my case, I've already got it here. So once I hit the save button, so Command S for save, went back to my living room and it just popped right in there. Now you've probably noticed there that it has the option to happen in a frame as well. So let's just resize that so you can see how that would look. We can just sometimes when you get these kind of an opening for the frame and you can stick the picture in behind, but this one, you actually have to resize it. So not that, that's hard to do, but let's just get that perfect. And again, once we hit Save, so I'm going to use my align features here if you get that perfectly centered. And I'm not sure if we're supposed to have a little bit of I I kinda got a little math in there, probably not necessary. So now I hit the Save button and go back to my living room. And you'll see it's now there with a frame. So this is a beautiful piece that you could then save out and use for promotional purposes or to send to an agent, or that your agent could use to promote your product to his potential customers. So given nutshell, that's basically all there is to it for doing the Mockups. I'm going to just give you a quick look at the difference layouts that I ended up with that I thought would be worth checking out. So this was one of the ones that I did. You'll remember this one because we were working on that one kind of at the ends. Don't want as well. This one, I don't think you had actually seen this one. This is one that I did. I believe after height done those other ones with you. I just kinda played around a little bit more with the overall shape of the artwork and left a lot more whitespace on the outside. And this one was basically the same idea. And I really went to town here with different kind of textures and add a lot more sort of watercolor effects. So you've got these drips and splotches. And here in the background you can see this dripping paint and this is actually a brush that I will give you and it will pretty much fill your Canvas. You can enlarge it accordingly, but it's one of the pattern brushes that we created in another class. And as well, this little brush at you see in here, which is kind of the look of collage. So a little bit of collage in behind the painted part of the abstract and that the brush that I will also include. So let's just take this one in. I want to actually check this one out and put this one in this spot. So double-click again on my Smart Objects paste. I've got a script that allows me to do a shortcut to fit it to the Canvas. Hit Save. And this time I'm not going to have the frame. This one's going to be frameless and let's switch to a different color. So that actually works fairly nicely. The white living room, actually really, really like that. I would take this whole room just exactly as is. So I just wanted to give you just a really quick look at the finished artworks that I had. I'll have a whole bunch more by the end of the week. And then also just for you to have the experience of putting the art into a mock-up and how easy that can be. Alright, So I think that is really it for this class now, I will meet you in the wrap-up. All right, See you there. 9. Conclusion, Mockup and Next Steps: Well guys, Here's another class that you've finished. Something completely different and I hope you're happy with the results. I know you're going to be doing a lot of practicing before you're ready to actually upload something here as a sample. But I would love to see what you've done. It's always so interesting what students get as a takeaway from the class, and how that inspires them to create something that is uniquely their own. If you haven't done so already, please hit that follow button up there. If you like the class and if you'd like me as a teacher. And I sure hope he did. Thanks so much for all of you who have been signing up and all of those wonderful comments that you're leaving me here. I really appreciate that and anything that's in the discussion section courses shared with everybody. And I really loved that. If you ever have a question that you want directed to me, you can also email me at the loris 1960 at me.com. I'm happy to help in any way that I can and also happy to get your suggestions for ideas for classes. Make sure you check out all of those different sites that I told you about. And also my two Pinterest sites, Dolores art Dolores, not screened and teacher Dolores and aspirins. I shared kinds of resources there. You can check out my stores. I've got a big one at Sawzall.com and of course, I've got the one at 66 under the umbrella of out of the blue. That's where you'll see most of my abstract art. I'm also there under my own name so you can check out the work that I have there. In Canada. You can find my work at art aware. If you'd like to leave your name on the mailing list that's on my website, you'll be informed of anything new that I added the artists resources section there. So you might want to do that and that's at shock without alerts or a dossier. So lovely to have shared the day with you and I hope to see you in my other classes. Bye for now. Hey.