Apple Sidecar : Combine Traditional Art & iPad Illustration | Rebecca Flaherty | Skillshare

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Apple Sidecar : Combine Traditional Art & iPad Illustration

teacher avatar Rebecca Flaherty, Surface Pattern Designer | Illustrator

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

15 Lessons (1h 21m)
    • 1. Trailer

      1:00
    • 2. Class Project

      1:32
    • 3. Materials

      3:06
    • 4. Gathering Inspiration

      3:02
    • 5. Sketching

      7:22
    • 6. Painting

      7:28
    • 7. Scanning

      5:36
    • 8. Removing the Paper Part 1

      9:17
    • 9. Setting up Sidecar

      3:11
    • 10. Removing the Paper Part 2

      10:59
    • 11. Adding the Line Work

      6:18
    • 12. Fixing the Colours

      9:16
    • 13. Recolouring

      7:08
    • 14. Saving & Exporting

      4:57
    • 15. Final Thoughts

      1:02
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About This Class

Learn how to use your iPad and Apple Pencil as a graphics tablet using Apple Sidecar.

In this class, you’ll learn how to use Apple's Sidecar feature to speed up and enhance traditional painting techniques that you are already doing. We'll be using the desktop version of Photoshop directly on our iPad as a second screen and adding line work using the Apple Pencil.

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Hi! I'm Bekki Flaherty, a self-taught Illustrator and Surface Pattern Designer and I can't wait to share my tips, tricks and shortcuts with you!

I'll show you how your iPad can fit seamlessly into your existing non-digital workflows.

  • Quickly test out layouts and create custom palettes to plan your work before you get your paints out.
  • Discover how to paint in a way that makes for easier editing.
  • How to use your iPad to add linework separately, allowing for maximum editing capability and minimum cleanup time.
  • Use your iPad to easily remove the background from tricky areas.

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Your class project will be to create a simple painting in a medium of your choice and then bring it into Photoshop to clean up and then add some digital linework. You will have a finished piece of artwork that you can export for printing or sharing on social media.

Follow along from sketch to print as I digitise, edit and add linework to a simple painting, using an iPad like a pen display graphics tablet working directly in Photoshop on the desktop. 

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As well as learning how to use Apple Sidecar I will also cover:

  • The best scanning settings to use.
  • How I remove the paper background.
  • How I separate my colours onto layers for easy editing.
  • How to recolour your artwork.
  • How to add metallic details to your artwork (copper swatch included in the class resources.)
  • How to export in different image sizes for print or social media.

Some very basic knowledge of Photoshop and being familiar with your iPad is helpful for this class but I will walk you through everything as we go. This class is also useful for experienced designers looking to pick up some new tricks for speeding up their workflow.

If you'd like to learn more about the basics of Photoshop, there are some great classes here.

For this class you will need:

After taking this class you will be able to apply what you have learned to your own art styles and workflows and make the most of your iPad and apple pencil even when you’re creating with traditional painting methods. Why not take a look at my website to see some of the surface patterns and illustrations I make this way?

I can’t wait to see what you create!

See you in class!

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Find more Skillshare classes by Rebecca Flaherty here.

Meet Your Teacher

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Rebecca Flaherty

Surface Pattern Designer | Illustrator

Teacher

 

Hi! I'm Rebecca, although most people call me Bekki. I'm a self-taught lettering artist, illustrator, pattern designer, neat freak and coffee guzzling, crazy plant lady.

Most days you can find me hanging out at my desk, coffee in hand, surrounded by houseplants and up to my neck in patterns designs! When I’m not busy working at my desk, you can catch me in the garden, cooking, out walking in the nearby countryside or watching any kind of period drama on TV!

I sell my work in places like Redbubble, Society6, Spoonflower and Mixtiles as well as doing freelance work for clients like Tropic Skincare. As a creative, I have worked with several high-profile and celebrity clients and have had my work featured by You & Your... See full profile

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Transcripts

1. Trailer: Hi, I'm Bekki Flaherty. I'm an illustrator and surface pattern designer. I sell my work through online stores such as Society6, Redbubble and Spoonflower. I like to paint with traditional mediums such as watercolour and gouache. But I also love combining these with digitally applied graphics. In this Skillshare class, I'm going to teach you how to use your iPad and Apple pencil to enhance painting techniques that you're already doing. I'm going to teach you how to use Sidecar to change your iPad into a pen display tablet that you can use to illustrate directly into Photoshop. Your class project will be to create a simple painted illustration, which we will bring into Photoshop. And add some digitally applied linework. I'll teach you all my tips and tricks and shortcuts along the way, including how to remove the paper background, changing the colours and even adding some cool metallic effects. This class is for anyone who loves painting and wants to add a few new tricks to their skill sets, a very basic knowledge of photoshop will be useful. But don't worry if you're a beginner because I will be explaining everything as we go. I'll see you in class. 2. Class Project: Hello. I hope you're as excited as I am to get started. So let's have a look at what we're going to be making for our class project. We're going to be painting a simple illustration like this one, so that you can easily follow along and learn all the new workplace that I'll be teaching you. Keeping the project super simple so that you can just focus on the new techniques rather than having to create a masterpiece. Although feel free to create a masterpiece if you want. You can use any paints that you already own and enjoy working with more on this later. And you kind of course paint in your install. You don't have to copy this same illustration style that I'm doing here. Some other ideas you could work on our painting, individual elements for surface pattern designs such as these ones here. But if I turn these simple shapes into nail polish bottles for this fabric print here, using that combination of paint and then digital line work on top is something I quite often using my surface pattern design projects. Please feel free to paint whatever you would like for the class project and give it your own unique twist. Or if you want to just follow along with what I'm doing, uprightness three captor shapes, That's absolutely fine. I love feeds, take lots of photos and screenshots along the way. If you process them to the project gallery and let you know the end of each video, what to add to your project gallery as we go along and don't forget, stop buying checkout other student's work and share the love by leaving some feedback and helpful comments. I can't wait to get started. So let's jump right in and take a closer look at what materials you're going to need. 3. Materials: Let's talk materials. You've probably guessed that the first thing you're going to need is an iPad. You'll also need an Apple pencil and you will need a MacBook or iMac. The reason for this is I'm going to be teaching you how to use Apple's side car feature, which allows you to use your iPad as a second screen for your Mac book. You can check whether your iPad is compatible in the list. You're also going to need a drawing app installed on your iPad. I'll be using Procreate. But if you don't have Procreate and prefers to one another up, that's absolutely fine. You're also going to need a scanner on Adobe Photoshop. If you don't Carney half Photoshop to worry, you can't get a free trial for this, and I will post a link for that in the class resources. You're also going to need some paints to create some artwork with. This isn't a class geared more towards teaching you how to use your iPad alongside painting techniques that you already doing. Not gonna go into a whole bunch of detail about the different products that I use. However, if you're new to this, I will walk you through the basic supplies that I'll be using to create the class project. I'm using watercolor here, but you can really just use whatever you've got. Kwashiorkor, even acrylic will work while high-quality paints aren't super important if you're just starting out and a simple students at his fine, I use a mix of student and artist grade paints and they all work well. You also don't need to worry about paints being light fast if you're not planning to sell or display original pieces, paintings that we hang on a wall will fade over time if the paint isn't like fast. But since we will be scanning, these is not a consideration we have to make when choosing our paints. Again, I use a mix of student and artist brushes. And to be honest for this illustration style, actually find these cheaper student quality brushes are the best. You want a smallish pointed brush for doing the detailed work and medium. This is a number 6 round brush for doing the large areas of colors to keep your brushes in good condition and to keep the points nice and sharp. Always store your brushes with the points upwards. I'll be using a four just because that's my preferred size to work on. But I'm guessing most of you will probably also have pay for scanners. However, if you have a larger scanner and you would prefer to work on larger paper, that's absolutely fine. You want to look for something that is around 250 grams per meter squared to 300 grams per meter squared. That will make sure that it's thick enough to hold up to the watercolor. Paper, holds the water well, and it has a slight texture, but not too much. If you use something with too much texture, it can make it a lot harder to remove the paper background or Photoshop, which we'll be doing later. You also want a rubber and a pencil. You may also want a black fine liner pen for adding the details, but this step is optional because I'll explain later once you've gotta do you materials to me in the next lesson, and we'll talk about planning out your design. 4. Gathering Inspiration: So let's take a quick look at places you can go to for inspiration for what to paint for your class project. I am going to do some cacti in pots because I really love heist plants. And I think the shapes will lend themselves well to the style of illustration that we're going to be doing. So I'm just searching on Pinterest here. You can also look at photos of things you've taken. You can take photos of things in your own house. I'm just going to quickly look through Pinterest and I really like these tool cactus shapes here. I think that these little star shapes will be good for drawing in the ink afterwards. I also really like an ear cactuses, these type of ones here. So I think I'm going to put one of those in. And these patents that are on the pots will be good for adding in detail later as well. There's another one of those toy shapes which has the pink flowers on it. So I think I'm going to try and add that into my design. And I think I also like these ANOVA type plants. You'll notice that lots of these things are laid out in sets of three. Like these here. And these ones here. Objects often that good in threes or odd numbers. So I think I'm gonna do three plans side-by-side like length, whatever it is that you decide, you're going to have a quick search and look up some reference images for those. You can either follow along with me and draw the same thing that I'm drawing. Or you can choose completely different images, whether it's different plants or something completely different altogether. So once you've decided what it is that you're going to be painting, the next thing to do is to pick a color palette. My favorite way to do this is to have different swatches of all the paints that I have so that I can choose which colors look good together. I prefer to have them on separate cards rather than just on swatch is invalid because it gives me the opportunity to move things around. The way I make my swatches is to get some small pieces of cut-up watercolor paper. And then just paint each color onto the paper. You'll then need to make a note of what colors on each square so you don't forget, I can either write the name of the color. This one is yellow ocher, or you could do I've done and make a note of a number for each color, and then assign Number two, the color. And I also have them swatch die on the top here so I can see what they look like with different amounts of water in them. So these are the colors that I've chosen for my final illustration. Once you've chosen your goals and you have your reference images, post a picture of them in the project gallery and join me in the next video where we'll start sketching. 5. Sketching: So when I realized that I could use my iPad for sketching out work, that wasn't necessarily going to be digital work finished on the iPod, but it was going to be painted. When I realized I could still do the sketching on my iPad and not have to go through sheets and sheets and sheets of paper for revisions. That was a game changer for me, felt so good to not have to throw away so many wasted sheets of paper. Always remember that you can still start sketching on your iPad, but then take that design onto paper. So you can use any drawing up that you like. You might prefer Adobe fresco or Adobe Photoshop. I prefer drawing in Procreate, so that's the one I'm going to use today. So I'm just going to open an A4 document. If I was doing a full digital design, I will make sure this was a lot bigger canvas and for 300 pixels per inch resolution. But because this is only a sketch layer, we don't have to worry about that. I think because I'm doing three Paltz, I think I want to turn my canvas. We're in this way. Make sure I put a pencil to basic HB. And I'm going to start off in a light color, yet That's perfect. K. So I think I'm going to start in the middle with the bunny ear cactus. So I'm just going to sketch out a simple thing. I want to take it, it actually might be a bit too big. Let me move this down a bit to move something and procreate. What you need to do is hit this arrow here. And then you can drag your object around to where you would like it to be, and then just hit the arrow again to set the transformation. You want to use the whole of the area for this design. So it's nice and big when we scan it. So I'm just going to draw some simple shapes, maybe another one. And then the problem this side, I think I want that to be a bit bigger for some balance. Let's draw that one in. And remember these shapes are going to be just loose watercolor so we don't have to be precise with this. You don't need to worry, right? Perspective is meant to be slightly stylized. And a bit he would equal D looking. So I think I'm gonna make this one ml I can alleviate or a kind of pump with some spikes coming up here. And I loved this style because you really don't have to the precise with it. So you have this style draws on that gestural motif style. So I think I'm gonna do this one as one of those taller, lengthen ones that have the little stars on it which will be adding on later flower on that night. I know at this stage it does look like something that a five-year-old control, but that's okay. It's going to look great when we've got the watercolor in a main class. So always remember to step back and have a look. I'm thinking this is just not quite working. So I'm just going to wrap that hype. Do that again. I think I'm going to make two big leaves in. So let's do you want to and then maybe a smaller one that yep. Okay. And that's really all there is to it for this stage. These are all going to be filled in with blocks of color. And then we'll put our line work over the top. Another way you can use your iPad to streamline the drawing process, even though we're not going to be completing the final piece on here, is to bring your color swatches into procreate so you can play around and see which colors look best. So if you come up here to the palate and you select new pallet, you'll see the half the option to create new from camera. You can lay these swatches out, take a photo of them, and it will create a palette for you. So what you then need to do is position your iPad camera above the palette and just take a photo. This will then capture your new palette. So you can set it as default. You can then create a new layer, drag it underneath your sketch layer. And we're going to choose an inking brush. I think what you see is the inker brush. Yep. And then you can pick your colors. So I'm going to go for the dark red for us too, which I think will be good for one of the palm pots. Let's go for this one here. And you can just lay your Colors Diane, for light to one. Uv light over here. Color, medium one in the middle. This one I have here. A pop of pink up here for this flower. And this will give you the opportunity to visualize how your colors work. Do they work for this illustration? Does it give it balance? And I think, yep, that looks good. So now we're going to trace our design on our paper. Who got my iPad here front of me? Ci is really just a case of copying the proportions onto here quite lightly with the pencil and not go too dark. Now make it easier to Rabbi. Normally when I'm doing this kind of thing, I use a light pad, so I'll print the design off from my iPad. And then using a light pad underneath to trace through why I wanted to keep this as accessible as possible. And this is quite a simple design. And this is quite as simple. And to compete, I want to show you that you didn't need a lifetime to do this. When you finish your sketch out a photo of your iPad kinda layout to the project gallery and then join me in the next lesson, where we'll start by adding some paint to our design. 6. Painting: So I'm going to start off with the cactus shapes. I think somebody's my thicker brush for this. And go ahead with a nice green color that you want to paint inside the lines here. I make sure to leave some whitespace in there as well, drop some water. And the reason we want to paint inside the minds is because if we go over the lines, then we won't be able to rub that pencil light once we've painted over it. But if we keep it inside the lines and we can easily remove them afterwards, just loosely draw a pink color in mind, you know, so I'm not going for a perfectly smooth edges here. I want this to look kind of quite jaggedy and legs drop some more water in there. One thing I do want to do is keep these edges hot. You can see here where I've got a soft edge of water. Let's find inside the shape. But I want to keep these outside edges quite hard. And the reason for that is that when we come to scan it, it will be a lot easier for the Photoshop software to recognize the difference between the paper and I'll paint if there's clear edges. So if it can some more paint. And I like all these little pieces, whether there's plenty of papers showing through, I think it adds a lot of texture and dynamic to it. And swollen. And trick you can do to add texture to this otherwise flat color is to drop water into it. And you'll see that it spreads out and you get these lovely textures in and draw more concentrated areas of paint. Back into the design. I'm going to put some time here. I think. It's, I think let's move on to this one now, which I'm gonna do a lighter green, sap green. I think I might actually keep some of those stripes that were in that. Then the reference image. This is quite a rich design. Please. Why every isn't that drops and then a darker color at the bottom. An adult, some entrepreneur. I'm going to leave some really interesting textures when they dry. I think I'm also going to do this spiky pawn in this color just because I think you want some balance to have the same thing as we have a don't be afraid to move your paper around, dish me too. You don't have to keep it up. Around is as you find easier. Drops, more button here. For the green. I think I'm just going to refer back to my sketch for the coverings. I'm going to use the darker color. Who leaves this one? I'm going to switch to using my clean water for these branch. Its side doesn't look too muddy with the green mixed in with it. It's nice the side of my brush to nice jacket effect. Let's see why this is such a great painting technique for beginners because we really are just laying down the shapes here. I'm going to be read if you haven't, let the paint dry, which I haven't, you want to be really careful not to let these two colors touch because the color will bleed. So you've got bits of green running into this and bits of orange running into that. And when we come to change the colors around in Photoshop, it will make it a lot harder to do if you've got parts of one color and another. So just bear in mind as you're working. If you're not confident in not letting them touch, then I would let these dry first, but otherwise just be careful to not let them bleed. My last of all, we wanna do this flower up here. And that is pretty much it for the painting we need to do is let that dry and then scan it in. In the next step. When you're painting is dry, take a photo of the design and add it to your class project. 7. Scanning: So let's get started scanning or clockwork into the computer. You're going to need to open up your scanning software. And as it starts to load, you'll hear the scanner doing an initial overview scan. You'll have a blank screen here. We're going to open up the scanner and put the artwork. And once you've put your artwork into the scanner, hit overview. It will do a really quick initial scan just so you can get the layout and test everything. So the first thing you'll notice is that this isn't black and white. So we want to change it to a color scan. Next, we're going to set the resolution. You will have different settings here depending on how high your scanner can go. The minimum you want to use is 300 DPI. By scanning at 300 DPI, you will be scanning at RightScale footprint. If he's kinda at a higher DPI, you will be able to print your final image much larger without losing any image quality or seeing any pixelation. So I'm gonna go ahead and scan that 1200. We do want to use a custom size here. If you don't see this image, bounding box pop up when you click keys custom size, you can just click on this image and drag a box like that. Just going to delete that one. So let us drag this in to just around the edges of our artwork. And the reason we want to keep it quite tight around it is it will help to keep our file size dime when it reached scans this it will only be scanning this area inside the box. If we were to leave the whole area checked, we be saving data for all of this area around here and taking up file size, which really isn't needed. You want to keep the rotation angle to 0 and we don't want them all to select because we have already told it where to start with this. Before we go any further down, I'm just going to show you a quick trick to get rid of this shattering here, I don't know if you can see the slightly dark areas here and here where the paper's a little bit buckled. If you take your paper backup the scholar, other sheets of paper behind it that will increase the thickness slightly and you'll be able to press down on top of the Scala and effectively IN those crinkles. So I'm just going to press down and rescan another overview scan. So you see these dark areas we've gone and the image is mostly flatten. Much need to readjust our edges around that. This section here is referring to the location, filename, and fall type of OSCON. So I like to keep my projects organized right from the beginning and set a proper folder and keep everything all in one place. So I'm going to choose Other. And I'm going to make a new folder called capitus illustration. I'm going to choose that one and filename characters illustration as well. So I'm not wondering which scan is. And then for the format, we're going to choose PNG because that will give us a better quality image than a JPEG. And then we come down to image correction. You'll notice that the colors on here are pretty flat and double compared to the nice fiber and paints we were working with will be adjusting the colors in Photoshop. We can get a head start on that here by adjusting the colors a little bit before we scan. I normally like to drop the brightness down a bit. And I think the tin is probably, okay. Where is it doesn't look too green or two per cool. Just right in the middle, whether it was temperature probably is okay as well. I'm taking a little bit about why. And for the saturation, and that tells us how bright the colors are. So we can take all the way down to black and white, all the way up to crazy levels. Think I'm going to increase a little bit to buy with a brighter but not overblown, Right? So then we're going to rescan pressing down on the top of the scanner again. Night, depending on what resolution you scan tin, you'll find that this will take a lot longer than that initial overview scan that we did. So I'm gonna go ahead and speed this up a bit for you. And then you'll see your scan window pop up. And you can locate that in your finder by clicking on the little magnifying glass. Never go. You see it's an R folder. File size is a 150.8 megabytes. If you've scanned lower DPI heels will be a smaller file size than the one thing I'm gonna do before we close this window is to just rotate it because it will save doing it later. And then that's how scans saved in our file, ready to open in Photoshop. 8. Removing the Paper Part 1: So here we are in Photoshop. The first thing I'm gonna do is rename this bottom layer original. I'm going to make a copy of it by hitting Command J. Then I can look this original layer and make sure that I don't make any changes to this that I can't go back from. If we zoom in here, you can see that there's this texture showing, which is the paper. And it will be a lot easier to remove this paper background if we can smooth out the appearance of fun texture, I'm going to do that by putting an adjustment layer onto this one. So go to your adjustments panel. If you don't have your adjustments panel showing, you can get to that by going to Window and choosing adjustments here. So then we're gonna go and click on levels. And I'm going to select this Eyedropper Tool, the white one for the bottom. And by clicking on this white area of the paper, we're telling Photoshop this is white for our image. So if we click on this slightly gray area, it will adjust the rest of the image for that to be white. And there you go. You can see that Smith site, all of this. And that will make it a lot easier for us to select the white area and remove it. But you can also see that it's thrown these colors off here. And if I hide this one, you can see that it's made that go a strange bright yellow color. So we don't actually want to apply it to this layer. I'm gonna make a copy of this one. And then I'm going to Shift click onto levels, and I'm going to right-click and choose Merge Layers. So we have this Walmart is applied and then we still have this working copy to go back to and make the selection. Now another thing I like to do at this point is to add a layer underneath this one that I'm working on. And hit this little circle icon here and add a solid color layer of blood underneath. And you'll see where I'm going to do that later on. So let's go back to this layer up here with a level adjustment on it. So let's show this one again. Now, I've got my magic one tool selected here. You can get it back by clicking up here where you can use the keyboard shortcut, which is w. So when you use the magic one tool for this work settings, but I like to have our point sample a tolerance of between 15 to 30. You can experiment to see which works best for you. And you want to have contiguous selected. And contiguous means that when we select white, it will select all other areas of white that are also touching this area. For example, if I de-select it and I click this area here, it will select all of these areas. If I have it selected. And I click this one, it will only select this area of white. Now you may be thinking, wouldn't it be easier to select all the white at the same time? But the problem is, it will select all of these areas, but it would also select tiny specks of white in this area as well. And it's much easier to go through one by one selecting the areas we do one than to try and de-select all these other areas that we don't want. So I'm gonna hit Command T to get rid of that selection Command 0 to go back to full screen view and select contiguous. So let's click on this area up here, see what we get. I think that's a pretty good first selection. So now what we need to do is add these other areas to our selection. And we do that holding down Shift on the keyboard with our magic one tool. And you'll see a little plus sign come up. And then if we shift click on these other areas, it will add them to the selection. You don't need to hold down shift the whole time. You can let go and it will still keep your selection in-between clicks. But if you've leaped out and you forget to hold down shift, and you click on an area that will then only select the new area that you selected. You can hit Command said, which is undo to go back and then hold down Shift on that area and then you can carry on working. And then it really is just a case of going through bit by bit zooming in. You can use the command plus and command minus to zoom in and out quickly. And then selecting for these areas that we want to get rid of. Where we have some areas like this that are quite light, but they're still part of the drawing. I'm not going to worry too much about these finite because we're gonna go in with our Apple pencil in a second and edit these areas by hand. And I think cuts nearly all of it. Now show you why I put this color fill layer written. If you've think you've got everything and you hit the delete key, that will take out all of the white you've just selected. And you can quickly see, like I have here, if there's any bits that you've missed. So then hit Commands, and then you can go and add those to your selection as well. I think that should be everything that I wanted to get rid of yet. So let's hit Command Z to go back to our main screen. So what I'm gonna do next is to modify the selection and smooth things out. And if you can see when we zoom in here, where it's selected that still some bits of white showing run the edge which you, I delete that you get this kind of white halo effect around the edge. So I wanna do is to take our selection in a little bit. And you can do that by going to Select, Modify, Expand. And I normally expand my selection by two pixels. And you can see that's taken it in. And we have a much tidier edge. Then I hit Command Z to undo that. And then one more thing I'd like to do is to go to select, modify, and put a feathering of half a pixel on the edge. And this will just create a slightly softer edge, which I think looks nice when you are working with paints and watercolor. Again, to remove deleting them. Right. Now. We could just hit Delete and get rid of that white paper. But then the problem is, is that that's gone forever. When we come to these parts here, where we want to add some of it back in. We won't be able to do that because we've deleted it and it's gone. So what I'm gonna do is used a layer mask. Now, a layer mask will only show the areas that we have selected. At the moment, we have the white selected. So if I hit this, it will get rid of all the other parts. So what we wanna do is invert our selection. So we press Command Shift, I switched to having everything except the white selected. So now when we create a layer mask only has four painted areas showing. Now I've created this on the Levels Adjustment Layer we were working on, which has the blown-up colors on it. So what I wanna do is hide this layer, would drag this one underneath. And we'll go back down to this original layer here. We've still got this selection here. So if we hit the layer mask on this one, that will apply it to this layer here. So now if we zoom in, I'm holding down the zed key here and just dragging with the mice to zoom into a specific area. You can see down here we've got these bracket key areas which I want to go in with a brush and clean up by hand. So at this point we're going to switch to using our iPad to work on. 9. Setting up Sidecar: So let's get started using Apple's side car. Just use it. You'll need to have your tablet on the same Wi-Fi network or connected via USB cable. And you got to control center and click on the Display icon. And then you've got the option to connect to your iPad. And then you'll see that what is on your screen is also mirrored on your iPad. You will need to resize the window is a little. So I'm just going to drag Photoshop so it fills this winter. So once you've got it so you can see everything on the screen should look a little bit like this. So let's have a look at the tools on the interface. You've got these keys here which show and hide the menu bar, Hamad, OK. I prefer to still use the keys on my keyboard has a marking, but if you want to use the Command, Option, Control, or Shift key on the keyboard, you can use the shortcut keys here for those. This one is useful as well is the shortcut for the undo button. But more often than not, I still use Command Z on the keyboard for the home. And then this one brings up the keyboard on the screen. On this icon will disconnect your iPad from the side car feature. So let's go over some of the basics of using the brush tool in Photoshop with Apple side car. So D on your keyboard to bring up the brush tool and zoom in a bit here. And you can literally just draw on the screen in Photoshop using your iPad. So you have access to all the same tools and everything. But you can draw with your Apple pencil. It's about brushed holes here. I'm going to use this hard brush. And you'll see that I have a slight jacket edge on there. That's because if we go to Shape Dynamics, I have a size jitter set, which means that you get a more natural effect. Then if we change it to off and change the size, jitter to 90 percent, you get a smooth line. And I like to have it set to about 20% and change this to pen pressure. And then we can use the pen. Press harder or softer in order to change how much weaker. And when you're using this to add line work, it just looks a lot more natural to have the variance and pressure. If you don't see Pen Pressure as an option here, you can fix this by going to whack Commons website and downloading their latest drivers on installing on your computer. This should then give you the option to choose pen pressure. 10. Removing the Paper Part 2: So let's address this area here. First of all, I'm going to delete this layer because we don't need that one anymore. Because this is a layer mask. We can add and delete bits of the mask as we need to hide or show bits of the illustration underneath. You need to make sure that you're clicking onto the layer mask and have that selected. And then you can go to your brush tool by hitting B. And you'll see that depending on what color you have selected here, either black or white, you can draw on to your layer mask. You can arrays with black. And if you press X, it will switch to the white color. And you can add that selection back in by painting in with the white color. So for these small areas here where it's kind of quite light but not quite. Why? Well, I normally do is just draw the mask back hidden until I get to the edge. So there we go. We can see the hg19. And then I'll make the brush a lot smaller using the close brackets, sorry, the open brackets key spike right sides. And then I'll go back to my black using X to change the color. And then you can just draw the line that you want and with your pencil like that. And this is so much easier than trying to do it using the mice. And you can use a graphics tablet to do this, of course, but if you don't have a graphics tablet and you have an iPad, There's no need to go out and buy war. And then to get rid of this area here, we can hit G, switch to our paint bucket tool, and we can just click on the area there. You'll see that I switch between using my pen on the screen and using the mice sometime it's looking at the screen and using my pen. And then I will have my hand up and be looking at the screen and using my mouse. I just find that some jobs are easier with the pen on here and some jobs easier with my mice on the screen. And that's why I like being able to switch between the two. So now I'm just gonna go around this area here. I've got the brush tool selected again. And we're just going to clean up this little edge here. These small bits here, which we haven't got, we don't have to worry about those because I'm going to show you a shortcut for cleaning up all of these little bits that we've missed in just a second. So yeah, just go around all the areas that you feel like need cleaning up a bit. And as long as they're separated from the main drawing, that will be fine. I think. I'm just going to take all of this off. I'm just going to trace around this line here. If you want to make your brush bigger and smaller, you can use these open brackets and closed bracket tools to adjust the size of your brush. And then it's just a case of punning, rent or drawing. And using the brush tool to add or take away from the selection as we want. So for example, this part here, I think I'm going to zoom in on that. Dan zed and click and drag. And in a clean this up. Again, see what else we can find. I think I might clean this part here up. And I'm panning around intellect to use the mice. Rather than fingers on the iPad screen. You'll see what this looks like with the white pop credit. So let's change this to white by double-clicking. Here. I think I am going to remove that. Let's change this back to black. Go back to our layer mask and remember to click on this one, not on. Image itself. If you Thanks It only have this selected to just be drawing pen lines on the layer, which is not what we want to make sure you're always drawing on the mask. I think that should be everything that we wanted to get. Some nice. I'm going to copy this layer by hitting Command J. Just going to drag law on underneath as a backup. And then we're going to right-click on our layer mask and choose Apply Layer Mask. And that layer mask is now gone and the changes are permanent. Now I'm going to show you how I get rid of all these extra bits, the small bits that we've trimmed off here, and these little areas up here, whether it was still small bits of pencil marks. So I'll make another copy of this layer by hitting Command J. And we're gonna go down here to the facts, and I'm going to hit Color Overlay. And then you'll see that supply to color, to everything we have on this layer, make a brighter color. So we can see here against the block. There we go. The moment this is just an effect. We're going to apply it by right-clicking. And we're going to click Rasterize Layer Style. And we now have a layer that is just these light green pixels. So as before, we're gonna get our Wand tool, W on the keyboard. And we're gonna go through and select all of the areas that we want to keep. So we know these big areas are the ones we definitely won't spin, hold down, shift, and select all of these and you'll see is missing these areas that we've trimmed off, which is what we want. You've just gone through here, Shift clicking on everything. And then again, we want to invert our selection. So Command Shift I, and that now has everything except these green areas that we want selected. So let's hide this layer back to this one. And when we hit the Delete key on this one, will zoom in so you can see. It will then take away all those small areas that were left in that. So now we have this layer with only the areas that we want and we've removed about current. Let's pick this area white. And so they can see we have our nice illustration with the background removed. So this point I'm going to save, I'm gonna hit Command S. And I'm going to call it cactus illustration. Save it as a PSD. I'm going to hit Save. So before we move on to the next step, I'm just going to do one last thing and re-size the Canvas. So I'm going to select my crop tool. I'll choose an eight by ten ratio for this. So that's a nice size to work with, with illustrations. And we're just going to drag the corners. I Hopefully it kind of in the middle gap. I like that size. And I think we might need to do a little bit of centering. So this is the layer that we want to center it. So I'm going to rename this one illustration just for keeping the file tidy. And I'm going to delete that layer. Now if you go up here to your Move Tool, and she can get it by hitting V on the keyboard and these three little dots and choose Canvas. You'll then be able to click on these and center the image. I think I might want to do a little bit of moving around, tear, somebody used my last Sue tool and drag brand. And then I'm going to hold down Control on the keyboard, which will bring up this level scissor icon and Mike holding Control and clicking, you can drag things around. I can move this one down a little bit, I think. Yeah, I think publics case, I'm just going to select the whole image again and then recenter it. And then this point you can resave your image again. And then in the next lesson, we'll start adding some line work. 11. Adding the Line Work: Let's add some line work to our illustration. We're going to create a new layer. And we're going to draw directly onto this layer some pen lines, just gonna make my brush a bit smaller. Let's see what that looks like yet. And I think that's a good size. Now I'm going for reading loose and gestural effect here. I'm not trying to match the lines. In fact, I want them slightly offset. So I'm going to try and not pick the lines too much. So I'm going to start up here trying to vary the pressure as I go around. And I'm going to go over a couple of times. But then I go over this line. Sometimes it's actually quite hard to not hit the lines. We do. This work. On the top, actually can either come up with a higher without weakening to the flower. And we do it. And some things I like to do sometimes just read a little bit of interests is to do a few little dots here in the UK. Feel free to add these or not anthem. If you'd like. Look. Just think they give a bit of interests, a bit of texture, and a bit of hand sketched for you. And then we can go in and add some details onto our cactus, put some spikes on here. And then on this one, if you remember this happy little star-shaped spikes. So I'm going to try and create guys up along these ridges. And then this one maybe just some simple lines up through the middle. And then I'm also going to add some detail to these poets because I liked them in the reference illustration that we were looking at homes going to maybe do some wavy lines and on this one and maybe some lines on this guy. And then this one, I think I might do some triangles, maybe one more. And I think I'm happy with that. So as you can see, we've now got our illustration on this layer. And online work on this layer. And by having the two separated and by having drawn this digitally, it just makes the cleanup so much easier than if we were having to clean up this because we've done it with real pen. And so anytime I'm doing illustration, which has linework, nine times out of 10, I will do it this way rather than using real pen on the paper and then scanning it because it just saves so much time. And I actually prefer this more bold line work style. So even though this image is only going to be used digitally, I do still like to finish off my illustration on the paper at the line working with a pen so that I can post pictures of it on Instagram. So I'm just going to go round and robot the pencil lines and then add the details. And with that final, either, after you've finished out in your line work with the iPad at some ink to your paper sketch, and then take a page out that you can post on social media. Don't forget to share your page out in your project gallery. 12. Fixing the Colours: So now that we have the bones of our illustration in place, we have our cleaned up water color. We have our line work over the top. I'm gonna get to work on adjusting these colors, brightening them up a bit, and then playing with some new color combinations. So first of all, I think I'm going to hide my linework layer. And then we're going to use the same trick we used before for easy selection. We're going to duplicate this layer by hitting Command J. We are going to add a color overlay to this layer. Hit, okay? And we're going to rasterize this layer style. So now I'm going to drag this underneath our layout, so it's still that underneath. And we're gonna keep this layer selected. And then we're going to hit W for our one tool. Now what I wanna do is to pull different parts of this onto different layers so I can easily select different elements of it to edit. So I think I'm going to start with this. Now remember we're working on this layer underneath, which is all flat color. So when we select it, even though it's underneath, we get all of that blue selected. If we were to be on our illustration layer and select, we wouldn't get the whole thing selected is only selecting similar greens to the area that we're in. So let's go back to this layer with the blue on it. And just like we did before, we're going to select and then hold down Shift and get those three green areas that we want. And we're going to come to our illustration layer. And we're going to press Command X to cut back. And then press Command Shift V to paste that back in place. And I'm going to rename this layer. And then we're gonna go and do that with the rest of the elements of our illustration. So we go back to this layer, hit W again, and we're going to select the pot. Come back to this illustration layer, Command X to cut, Command Shift V to paste in place. And then we'll name this layer is hot. It's always a good idea to name your layers as you go in, because even though these are quite big blocks of color and they're easy to see in these thumbnail privies when you're working with much bigger documents are much smaller elements. It gets quite hard to see what you have on each layer. Let's go back down to this one. Select the pot illustration layer Command X to cut, Command Shift V to paste in place. And we'll call this popped. Come back down here to our illustration layer. Select the context to cut. Command Shift V to paste in place. We'll start with flour. Reason I'm not selecting the flower on the cactus. And all the pop together is because each one of those is a different color. So we want each color on a different layer. So let's go back to the illustration Command X, command Shift V to paste in place. And we'll call this tall flower. Back to our overlay layer. Select back to the illustration and X to cut. Command Shift V to paste in place. Cool this spot, and then conduct, sorry, Shift V to paste in place. Then we can get rid of this one. And we'll call that. And there we go. We now have each of those elements on a separate layer. We can get rid of that overlay layer. So let's start by working on the color for this middle cactus here. I'm going to select our layer. I'm gonna come up to our adjustments. Remember if you don't have just been showing, you can go to Window and select adjustments there. And we're going to hit the hue saturation layer. Now this will add an adjustment layer to our Layers panel down here. If we slide the hue slider around, you can see it adjusts all the colors for the whole document. And that's because this is applied to everything underneath here. If we only want it to work on the layer beneath, we can hit this little icon here and it will clip it to the layer underneath. And then we can just change the colors for that capitalists there. Another way of doing that is if you hold down the option key and click on that layer, it will clip it talked underneath. So let's have a little play with the hue and saturation for this layer. I think I'm just going to reset that there. I think I want to change the color too much. You can click into the box here and use the arrow keys to move up and down a little bit. And if you hold down Shift, it will move up and down in increments of 10. So let's go back to 0. Think I'm happy with the color that we've got there. So I don't think I want to change the hue tool. I think I do want to put the saturation up to maybe has tried 20. I don't know, many adjust the lightness because it can kind of make it look a bit blown. I. So then we can come down to our bunny ears, pop again, hue and saturation layer and clip it to the layer below. So let's bring this saturation up a little bit. I think maybe let's leave it on 20. And then I don't think I want to change the hue on this much. And I think we'll leave that where it is two. And then we'll go to Auto pop. And I think I do want to adjust the hue of it on this one because just bring the saturation up. I think I want to make it a bit more yellow, so it's more similar to the electric light. You can see this is changing the colors for things over here. And that's because I did not clip it to the layer. That's fixed and that's only change in this one. So let's bring that back down. I think maybe let's keep that on ten. Yeah, I think that's good. And then again, create another layer for this one. Let's bring the saturation up. That's good. We could just have done a hue and saturation layer for the whole document and just brought the saturation up for everything. But by doing each layer individually, it gives you the option to adjust each color has it's needed. So let's bring up the saturation for this flower. And I think I want to make it a bit more pink slips, bring it down this way, slightly bitter. And then lastly, let's add a hue and saturation adjustment to this one. More clip it. Let's bring the saturation up. And we go up. It's nicer. And again, I don't think I want to change the hue much here. I think we'll keep that as it is on TV. Let's bring the saturation up too much. And I think maybe make it a bit more green. So it matches more in with this one. Yeah, I'm liking that. I think that's pretty good. One thing I'm noticing is that this is now looking a little too saturated in comparison to everything else. So let's go back up and maybe bring that down to ten. Yeah, I think that's better. And that's why I prefer to do each element on its own rather than the whole document because you'll find that some things need more work than others. 13. Recolouring: So now that we've got our color corrected copy, I'm going to play around with the colors and come up with some new color combinations. Now, I don't want to lose all of these adjustments I've made already, so I'm going to hide it and then create a new layer above it. And I'm like just rename this one original. And then I think I'm going to make these blue. Maybe they will go for blue cacti and read pots. So when I'm recoloring, I like to use the colorize tool rather than dragging the hue slider around. You can see when we get to some parts, the colors just get blurred out ever so slightly. But if we use the colorize can lead to bring up the saturation gives a much more even we coloring effect. So let's go for saturation of the rights 70. And I think maybe like a nice teal color yet public and that one. So again, let's hide this one. Add a new layer, saturation, and we'll go to repolarize, sorry, colorize. Bring the saturation up. And I think I'm gonna go for a reddish pop on this one. Yet. Let's do the other character. Let's get to this colorize saturation at. Let's go for this teal color. And then go down here. Hide that layer. And another one. Clip 1. And let's colorize. Bring the saturation up first. Sky for a nice teal color for this one as well. Now you'll see this area here is quite dark. We can fix that by hunting and Levels Adjustment Layer. Okay, pin that down. And this middle slider here, just going to slide it to the left slightly. Even I love darkness. And let's do. These are the parts that one wanted to colorize. I think I might adjust the levels on this one slightly to bring the saturation back up. Let's do this one over here. Make sure to clip it to the LAN. Unlike enough. Now this pink flower here, if I was changing the color to something quite different than I would use the colorize, but because I'm only going to adjust it ever so slightly from what it was in the first place. I'm happy with just using the hue slider for that one. This might need a bit more saturation. Let's just go to that one again. But you can just pop. And this is where you'll be glad that you've named each layer for what it is. Yeah. I mean, I cannot. So let's have a look at some other things we can do by having our linework on a separate layer. The first thing we can do is to change the color. Just as we added a color overlay earlier. We can also add that to our line work. So let's get down to our layer effects down here and add a color overlay. And you can see it's added that light green color that we had before to all of this line work in that layer, can choose any color you like, go to black. Or if we wanted to go for a nice dark blue color. Suddenly we can easily do. Okay. That's something we can easily do it by having more than line work on a separate layer. Another thing we can do is to add a metallic texture to this line work. So with the class resources, I've included a swatch file for a seamless copper texture. To download that you'll need to go to the Skillshare website, not the app, and go to the class resources and download the materials there. And then you can open that file. And you'll see this Copper swatch tile. You will need a seamless tile to do this, which is why I've included this one for you to practice with. So we're gonna go to Window and open up Patterns window. And let's drag that up there. Now, if we hit the plus icon here and hit Okay, it will then add this as a pattern. And if we make another layer here and apply this to a layer, Double-click. And if we change the scale here, 50 percent, you'll see that no matter how small we make it, you'll see that it tiles it seamlessly. And so we can use this to fill larger areas. Let's cancel out distally up layer. And now if we go back into our cactus illustration, let's just clear this layer style. And if we click on the copper texture up here, while we have this layer selected, it will apply this texture to all of that layer. You can see, if we zoom in, we have this nice copper texture applied to it. I'm going to change the scale to 50 percent. So I think the scale of this as a little too big and it looks a little pixelated. But I think the scale of 50 percent matches better with the rest of the drawing here. So that's another effect you can get by adding your line work on a separate layer. 14. Saving & Exporting: So now we have our finished work we want to share with the world. I'm going to show you two ways to do that. First, I'm going to show you how to save it as a high res image, which you could use for either printing or uploading to a print on-demand site. We are going to go to Save As by hitting Command Shift S. And we want to save it as a PNG file. And we're going to name it cactus illustration. And I'm just going to hit Save. And click OK for a large file size, that's fine. And this will save a high resolution image which you can use to upload to sites like Society 6 or red bubble and sell it as a print. If you wanted to put this on a t-shirt, then you need to save it as a transparent PNG. So we're gonna take out this color fill. And then we will also need to hide what's behind it. Don't know if you can see this grid area behind here that's showing that it's transparent. So we can again, now we've got the color fill taken out. We can hit Command Shift S to save again. And we can put transparent in the title and we can save it as a PNG and hit Save. And you could then apply this to a print on-demand site to go on a T-shirt and you would only get these cactus printed out. You wouldn't get the big white box behind it. Now as you can see, this is taking quite a while to save because it is a very large document size. Sharing on social media, we don't necessarily need or want to have high res images. When you show your work on social media, you'll mostly want to stick to saving it at 72 pixels per inch, which is fine for viewing on screens. The risk was sharing high-resolution artwork is that somebody else can download it and upload it themselves. By keeping the resolution is 72 pixels per inch, it will ensure faster loading times and also protect your artwork from being stolen, downloaded, and the news by somebody else. So to share this on Instagram, it would be better if we have this on a square background. So let's go to our crop tool. And we will change the ratio to square, not for. We're going to need to direct this out a bit. Hit enter. So we want to center this again. So let's select our top layer and then hold down Shift and select our bottom layer. And that will have selected everything there. And then we're going to hit this file icon here to group it. And then we can select the Move Tool. Go back here and make sure canvas is selected. And we can use these tools to center it. Again, when I'm sharing my work on social media or would like to put my name on it. So let's hit T for the text tool and have here. We'll click down here in the corner. And I'm just going to type Becky. And then I'll move tool. And I will just drag it over a bit. And let's double-click on the text is selected. And then I think we'll make it quite sure Let's use the eyedropper tool and pull this color. Over. There we go. Has had to add your text. And then we're going to go up to File export. And we're gonna go to Save for Web. So you'll get this box come up and we're gonna go down to the image size down here. And you can see this has massive, this is 8 5000 pixels. Yours will be bigger or smaller depending on what resolution you scanned in. I'm just going to change it to 1080 by 1080, which is the size recommended for Instagram. And we're just going to hit Save. And then that will save a 1080 pixel square of your drawing. And we're gonna go to CAPSA illustration. Let's click on here to get the filename copied. And then we'll put Instagram. And then if we go to our files, you'll see the file size for this one is only 209 kilobytes, and the file size for our print is 77 megabytes. So yeah, much better to be working with these small file sizes for social media. Save a low-resolution image of your own work and add it to your project gallery. 15. Final Thoughts: Thank you so much for watching. I hope you found this class useful for getting yourself setup with Apple site cough, and I've enjoyed following along with a fun class project, is such a great way to use your iPad alongside your favorite painting techniques they are already doing. And I hope you'll come up with more new ways to use your pen display tablet you didn't even know you had. If you do come up with some new workflows, why not share them with us in the discussion tab? If you found this class useful, please take limits and writes it and give it a thumbs up as this really helps other students to find it. Don't forget to post your finished work in the project gallery. If you would like any feedback or have any questions I'm available via the Discussions tab, please follow me on Skillshare to be notified when I talking to new classes. And in the meantime, if you would like to connect on Instagram, my handle is at Becky flat D, and if you post a new work, please use the hashtag, Becky, flighty Skillshare. Thank you and I will see you soon.