Create the Ultimate Sticker Set with Procreate | Christopher Jeske | Skillshare

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Create the Ultimate Sticker Set with Procreate

teacher avatar Christopher Jeske, Procreate Illustrator | Motion Designer

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

14 Lessons (2h 26m)
    • 1. INTRODUCTION

      1:47
    • 2. CLASS PROJECT

      1:12
    • 3. EXERCISE 1 - BRAINSTORM

      9:16
    • 4. EXERCISE 2 - QUICK SKETCHES

      14:46
    • 5. EXERCISE 3 - STYLE & COLOUR

      22:18
    • 6. EXERCISE 4 - INK YOUR SKETCHES

      11:31
    • 7. EXERCISE 5 - ADDING COLOUR

      6:19
    • 8. EXERCISE 5.5 - ADDING COLOUR PT.2

      19:17
    • 9. EXERCISE 6 - TEXTURE AND LIGHT

      9:35
    • 10. EXERCISE 6.5 - TEXTURE & LIGHT PT.2

      12:01
    • 11. EXERCISE 7 - ADJUSTMENT LAYERS

      15:11
    • 12. EXERCISE 8 - FINALISE YOUR STICKERS

      9:40
    • 13. BONUS EXERCISE

      12:31
    • 14. CONCLUSION - THANK YOU

      0:53
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About This Class

In this class, you will learn how to draw a set of elements or stickers relating to a theme.  You will learn to build a consistent style and point of view in your drawings.

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If you've ever wondered how to illustrate a bunch of elements around a theme but struggle with where to start, this class is for you.  Each exercise is jam packed with coaching and guidance to help you get your ideas out and have fun drawing with Procreate.

This class is useful for anyone who would like to learn more about using Procreate.  You are sure to enjoy creating consistent and tight drawings that convey a larger message or theme.

Do you struggle with knowing what to draw? Do you want to learn more about how to stylize your illustrations in a consistent way? 

  • This class will help you become more confident in your drawing style and maybe help you to spark ideas on drawings in the future.
  • You will be left with more confidence using Procreate and in your ability to get the most out of the program as you draw.

You will learn to use the elements you draw in different and exciting ways!  

You are going to become so much better at using Procreate to illustrate!

In the end you’ll have created a set of really awesome and truly unique stickers or clip-art.  No matter what you decide to do with your drawings you’re going to have a lot of fun taking this class!

We're going to kick off with some really great idea building exercises, designed to help you tap into those creative juices and make your stickers POP.

For this class you will need an iPad, an Apple Pencil and the Procreate app.

For the seamless pattern bonus lesson, students will need the Pixelmator app.


Meet Your Teacher

Teacher Profile Image

Christopher Jeske

Procreate Illustrator | Motion Designer

Teacher

Hi, I'm Christopher!  

I'm an Illustration and motion graphics designer from Ontario, Canada with a passion for procreate, colour and cute things.  I create whimsical illustrative art around characters or scenes.  My passion is to evoke feeling and capture emotion with my work.

I like my art to have a sense of humour and a strong optimistic emotional appeal. 

I run my creative career out of my home studio, armed with my iPad Pro, Apple Pencil and my iMac for the tougher stuff in After Effects.  I studied graphic design at college and have been a working designer for many years - only recently going freelance.

You can find my work on Instagram and also my website Christopherjeske.com check them out!

... See full profile

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Transcripts

1. INTRODUCTION: [MUSIC] Hi, everyone. My name is Christopher, and I am an illustrator from Ontario, Canada, and I love drawing and procreate. I studied graphic design in college, and I'm a self-taught Procreate Illustrator. In this class, you will learn Procreate best practices; creating consistency across a drawing, working within a tight color palette, and how to brainstorm and generate ideas on a theme. You will also learn to think about ways in which to make use of your drawings. This class is for anyone who wants to learn more about using Procreate and have fun creating consistent and tight drawings that convey a larger message or theme. It's also great for anyone who struggles with knowing what to draw or wants to learn more about how to stylize drawings in a consistent way. For this class, you will need an iPad, Apple Pencil, and the Procreate app. That's it. For the seamless pattern bonus lesson, you will need the Pixelmator app, which you can download from the App Store. For your class project, you are going to create a unique set of illustrations around a theme of your choosing. How many you create for your set is totally up to you. In the end, you will have a set of illustrations which you can use across many mediums. You can create and sell stickers. Use your illustrations to make a seamless repeating pattern or wallpaper, or even sell as clip art packs on the Creative Marketplace. After taking this class, you will gain confidence using Procreate and earn your ability to get the most out of the program as you draw. You will also gain confidence in your drawings style, helping you spark ideas for projects in the future. Let's go, see you in class. [MUSIC] 2. CLASS PROJECT: [MUSIC] For your class project, you and I will be creating the ultimate sticker set together. Here's how we'll do it. We'll brainstorm and come up with a theme for our drawing. We'll decide on how many elements from our theme we'd like to illustrate. We'll sketch, ink, add color and texture to all our elements. We'll assemble all our drawings into one document, and talk about ways to use our awesome, new sticker set. In this class, you will learn new and unique ways to generate ideas for drawings through themes. You will learn to use the elements you draw in different and exciting ways. You are going to become so much better at using Procreate to illustrate. If you're struggling to develop your style, this class is perfect because it's not just one simple drawing. You have to make several elements work together on the page, and this can do wonders for your development. In the end, you'll have created a set of really awesome and truly unique stickers or clip arts. No matter what you decide to do with your drawings, you're going to have a lot of fun taking this class. Before you begin, download all the class resources from the Projects and Resources section on this class in the Skillshare website. 3. EXERCISE 1 - BRAINSTORM: Hello art friends, welcome to brainstorming. This is our first exercise, so exciting. This step is super important, so I don't want to just skip it. But what you will need for this section is the brainstorming class resource. Go ahead and open that up in Procreate. This is what it looks like. On the right, I've included a spot for you to write down your theme name, then I've included some areas to do some warm-up sketching, and then area to list all of your theme elements along the left. What I mean for a theme is, let's say you pick a jungle as your theme. Then underneath the umbrella of the jungle, pick elements to draw. You could have vines, you could have jungle creatures, you could have plants. Really anything that falls under your theme name. If you're stuck for ideas for a theme, I've included some down on the left to maybe get your mind and juices flowing. For my theme, I've decided to go with the sea. I'm just going to write that in the top right. Then on the left, I'm going to start brainstorming and thinking about elements that could probably go along with the sea theme. Let's start listing some things. Turtle comes to mind, coral, seahorse, whale, jellyfish. What you're going to do here on the left is just write down elements from your main theme idea. What this is going to do is allow you to break down what you'd like to actually draw for your project. Once you're happy with your list, what we'll do is we'll move over to Pinterest and use that as a bouncing board to generate some more ideas for some quick and simple sketching. Why don't you open your web browser and I'll see you in Pinterest. As you can see, I've built up some really great images that are going to help me come up with some ideas for sketching in Procreate. I've got some grade silhouettes of animals. I've got different perspectives. I've got some creatures face on, some creatures sideways, some creatures animating and movement, and different color themes. Keep that in mind when you are searching for your image resources that you want to have a variety of perspectives, different ways to shapes our laying on the page. Some side view, some front view, some group view. Just keep it mixed up and interesting. Once you're satisfied with the pinboard that you've built, start to download some of the major images that you think are the ones that are going to help you draw some really great stuff. For me, I'm going to go ahead and grab this turtle. You're going to want to download a few of these images to your iPad so that we can bring them in and start doing some really mini sketches. I'm going to grab a few more. Then I encourage you to do the same and spend no more than half an hour looking for some images. Collect them together on a pinboard, and then download a few that you might want to use to help you do some warm-up sketching, and we'll finish off back inside Procreate. Here we are back inside Procreate. What we're going to do is we're going to start using our images that we grabbed from Pinterest to start creating some warm-up sketches with. These aren't going to be the sketches we're going to use in our final drawing. I really want you to just concentrate on being loose here and having a little bit of fun. This is just meant to get your pen moving on the paper and just generating some really simple lines and silhouettes that you may want to use for your final sketches. Don't worry how they look. Just worry about having fun and starting to study and analyze the lines and shapes of the elements that you'd like to use for your drawing. I'm going to go ahead and pull one in now. To do that, all you have to do is click the "Wrench", and then click on "Insert a photo", and then grab one of those photos. I'm going to go for the turtle first. Isn't it cute? We'll move from over here. Then basically, what you want to do is just go in one of these squares here, grab yourself again a sketch pencil on a new layer, so above the turtle, doesn't really matter. Grab your sketch pencil and then just start making some lines. Doesn't need to be perfect. Like I said, you're just putting some lines down on the paper and getting some general ideas for what the animal looks like. How you want to draw it, the silhouette that you might be getting from the image, and it's just going to be really simple and fast. There we go. There's my turtle. Basically, like I said, it's very light, it's very fast. You're just studying the lines of the creature and how you may interpret those into your drawing. You'll already notice things you want to change about your sketch as you're going through them when you're seeing things happen live, things change. That's why I want you to go through this exercise and actually do these sketches because it's really important to do initial sketches and to do these warm-up exercises because you generate ideas this way, you don't always end up in the same place you would if you just jumped to a good copy. So I always encouraged some really extensive sketching before you start any major project. Let's go grab another photo. I'll do this shell next. Take that shell. Now for items like this, it's generally pretty easy to see where those lines are going to end up. You just start again on a new layer and you just going to grab the main shapes. Definitely, this crab is going to be one of the ones I'm going to draw with you in the class. He's so cute. I love his personality. He has little eyeballs and claws, really easy to draw, so minimal shapes. That's some things that I keep in mind too when I'm browsing for images because I like to keep things a little bit easier. Do think about how will I draw that as you are looking for inspiration on Pinterest. Here we have a set of seven elements that we've taken from our theme elements, and we've done some warm-up sketching. I've got a variety of angles. I've got some side angle, some top-down, some movement animation, and some perspective views. I think these are great for me to move on to the next step. I'd love to see what you've done. I really encourage you to take this, save it as a JPEG, and upload it for me to view under the projects and resources section of my class project on the Skillshare website. This way I can help with any feedback or questions or stumbling blocks you're having so far with this project. Remember, I'm available to you as a resource. Anytime you need my help, I'm here for you. So just write me a message in Skillshare and I'll get back to you right away. I'll see you in the next lesson. 4. EXERCISE 2 - QUICK SKETCHES: Hello, art friends. Welcome to quick sketches. Important to know before starting this section, you should have a clear direction forward and have settled on a few elements you'd like to develop further. If you're still not sure, perhaps revisit your brainstorm sheet and try something else, or a few more warm up exercises. I'm back inside Procreate and I'm going to open a new document by clicking the "Plus" button, and then clicking it again. I'll then specify 5250 by 5250 in pixels and 300 DPI. I always like to work at 300 DPI for a high-quality print. Go ahead and click "Create". To start, we'll grab one of the images we were using in the brainstorming exercise and begin to refine the sketch even further. Click on the wrench and click on "Insert a photo", and then choose your photo. Now if you'll remember and you were paying attention, I didn't draw our warm up sketch on this jellyfish. But at the last minute, I decided to go with this silhouette instead of one of the other ones that I was working on. It's okay to do this, that other project we did was only a warm up sketch. Throughout the process, you may change your mind several times on what items you want to sketch and design further. That's why brainstorming and quick sketching are such an important part of the process. I've put the jellyfish over to the side here, and this is the area where I'll do my little sketch. Again, we're going to go onto a new layer, we're going to grab our sketching pencil, and we're going to begin sketching. You'll notice things about what you're sketching, just like we did in the brainstorm section, that you'll want to grab and draw first. I know that I've got this bulbous umbrella thing happening here. This does go up a bit, and then we've got an underneath happening. You'll notice, as I'm sketching, I'm just refining my lines slowly, not pressing too hard. But I am drawing a line over line over line, just until I'm feeling I'm getting somewhere with the shape that I like. That really isn't in this drawing, but that's what I mean about this process is, you're coming up with this shape that you're entertaining your ions with. You do want to add value to your drawing by making the shape dynamic and adding interests like one tentacle coming from behind. Then we have this tentacle mixing in, so there's implied animation to your drawing. That, my friends, is a quick sketch. We've already sketched one of our elements for our sticker set. This is where I'd like you to end up for this section for your sketches on this document. I would keep all of your sketches on a different layer, and do them all relatively larger because we can always reduce the size of them later. Let's move on to the next creature. Deselect the jellyfish, and we'll deselect the jellyfish sketch. We'll make sure we're on a new layer, and we'll go to the wrench icon again, "Insert a photo", and I would like to start with maybe the crab. He's a cute and friendly, funny guy. I'll move him off to the side as well, again. We'll make sure that we're on another layer, not on the crab layer, but on a new layer, and getting your sketch pencil again. Then we're going to just quickly grab those shapes again. Even though you're not drawing a crab, as you follow along with me and I'm drawing this crab, you can see that I'm just picking out the shapes and then adding them into the drawing piece by piece, noticing the main silhouettes, what's in front and what's behind, and then just translating that to the page. For your designs, for your sketches, whatever it is you're illustrating, just really pay attention to the shapes and your sketch will turn out all the better for it. My friends, we are done, our second quick sketch. Let's move on to a new shape. Grab a new image, so wrench, "Insert a photo". I think I will draw the clam and coral next. I'll put that over to the side. To do a perfect circle in Procreate, you just draw a rough circle, hold down the pen, and you'll see it turns into an oval, and then hold down your finger by pressing, and it becomes a perfect circle. Let me just place it. That, my friends, is quick sketch number 3. Now that we've got these three quick sketches done, we need to refine these sketches further. The best way to do that is continue to keep them all separated on their own layers. But let's focus on one at a time, and I think we'll start with the jellyfish. Make sure that, again, we're on a new layer. We've got our drawing photograph. We've got our quick sketch, which I've reduced the opacity on by clicking here and reducing the opacity. Then I've started a new layer on top of the original sketch where I'll draw now. For this step, it's just a matter of smoothing out your shapes and getting a more clear and defined line. If you're finding you're having trouble keeping some of your lines without appearing too shaky as you're drawing, there's always the streamline tool you can use in any of your pencils or pens or markers in Procreate. All you have to do is click on the brush you're using, click it again, and then click Streamline under the Stroke path. You can max this out, and what it will do is it will decrease the amount of shake in your drawing and help smooth out your lines. For example, here is with it on, and then here's what it off. You can see wherever I jittered, it's showing up, and if I've got Streamline on, it streams all that right out for me. With Procreate again, just to show you, you can draw on a line a curve, and then stop drawing, hold your pencil down and Procreate will make it into a perfect curve for you. Then you can drop that shape and edit it to adjust the arc. If you are looking for more clean shapes, which we are in this lesson, you want to start using the smart shapes tool in Procreate. Basically, this is what I want you to do with your elements. You're going to do your quick sketch and then you're going to put a new layer on top of that quick sketch, and you're going to do a little bit of a more refined, thicker line, a more defined shape sketch for each of your elements. That's my jellyfish done. I think what I'll do is I'll move on to Mr. Crab, so I'll shut off all those drawings. Keep your original sketch because we've got lots of layers to work with right now, and just move onto your next element, whatever that may be. When I'm drawing a more organic shape like this, I find that the less I remove the pen from the paper, the better my line or my shape is. What I mean by that is, if you're grabbing and you're going like this, you're going to get a messy shape. That's why sketching is so important because it gives you an initial line for your eye to follow along when you're drawing so that you can just concentrate on making a smooth line. As you're sketching, you're defining your shape and you're creating a silhouette. But as you're refining your sketch, you're just finding that line that you like from your sketch, and just going along with it. There we go. There's the refined sketch completed for Mr. Crab. Here we are on our refined sketch layer for our clam and pearl. Then this might be the time for adding a bit of flair, which is something I like to do sometimes, to add in a little bit of animation to my drawings. A few lines here and there to imply movement or excitement. All right guys, that looks like it's a done deal for our quick sketch and semi-comp section or exercise. Just to recap, we took our original photograph and we did some quick sketching, and then we refined those sketches, added some thicker, deeper lines, some movement and some information that will help us with inking and coloring. Before moving on to the next exercise or lesson, please complete all of your quick sketches and then refine those sketches to the semi-comp level. You should end up with all of your sketches looking like this, almost ready to complete or ink. In the next exercise, we're going to talk about style and color before we move on to inking your sketches. 5. EXERCISE 3 - STYLE & COLOUR: Hello friends, welcome to exercise 3, style and color. Before starting this lesson, be sure you've completed sketching all your elements to the semi-comp level we talked about in the previous exercise. For this lesson, you'll need the style and color class worksheet that's posted under the Class Resources section. You're probably starting to think about what brushes you'd like to use for inking and coloring your elements. I'll talk a bit about what I like to use. You're welcome to use anything I mentioned or go with any of the brushes you have in your own arsenal. The first brush I'll mention is called inkers. You can read all about the brush set available on the Creative Marketplace. Follow the link in the about class section. I love the way these brushes flow out of the Apple pencil. I use these brushes a lot for any line work or outlining I do. They have brilliant texture and add a really great drama to your lines. I'll be using these brushes to ink my elements. Other brushes that are essential to me come from Alex Kunchevsky's drawing course. When I was just learning Procreate, this class was immensely helpful on my learning journey. You can sign up to take his course or just download the brushes if you like. I've included both links to me about class section. For adding texture to my drawings, I use a brush set called Nitty Gritty, which is also on the Creative Marketplace. It's got four really great brushes to add some dust and specs, which will help you create some really cool dimension for your drawings. I've also included a link to a free Procreate brush set by VisualTimmy. The link is in the about section of this class. Some really great brushes in here that I use all the time. We're done talking about brushes, so let's get back into Procreate. Open up our style and color worksheet, it should look like this. On the left side, you'll see I've drawn three simple shapes. I'm going to use these shapes to explain three different techniques I used for adding color and defining style to my inked line work. It's important to define your style for your drawings at this point so that we can really drive consistency in our drawings. They all have to look like they belong together or originate from the same universe. You might already have a drawing style in mind for your elements, but if you don't, this might help get you on track. On the right side, I've put together a few color palettes. I strongly suggest you pick a small selection of colors and create a very limited color palette for your illustration. Using a limited color palette can really help drive cohesiveness and aesthetic value. After I explain a bit about how I like to color my shapes, I'll show you how to make your own custom color palette so you can experiment with your own. We'll use Pinterest to grab some photos and to nab some colors from. The first technique I like to use on these types of drawings is to use my original line work in the final drawing and simply fill in the shapes. This is the easiest of the techniques, and can be quite effective for our final design. What we'll do is we'll grab that shape layer and we're going to create another layer above it and then we're going to drag that layer below. Then we're going to make sure that we're selecting our Shape Layer and I'm going to the select tool and then going to Automatic. Then I want you to grab one of the shapes and hold, and then click, and drag. Now what you're doing here is you're increasing the threshold for the selection size. You can see the little white lines happening along the edges of the work. That just means that it's extending your selection beyond the border. That when you fill in that selection, that you're going to get a shape that fills with no white line around the edge. What you want to do is you want to get that selection threshold almost up to a hundred percent. You're really extending far beyond the border of your original shape and. Creating a bit of a buffer space for some color underneath. Basically, what we're doing is we're filling in the shapes just underneath the line work. You can individually modify and affect the color without affecting the line work. We have that shape selected, but we're not just filling in one shape, we're filling in them all. Let's continue to select. Select tool, bam, bam, bam. Procreate is going to remember the threshold you last used for selection. If you've already adjusted your threshold to a higher amount, it will remember this when you're making a future selection. If you want to reduce that threshold in the future, just make sure that you are clicking, holding, and dragging to reduce or increase. I'll show you one more time, you're grabbing your shape layer, grabbing your select tool, automatic, clicking in a shape, adjusting your threshold till you get it to the right spot, almost at a 100, just before the whole thing turns blue, and then just grab the rest of the shapes. They should turn blue like that. Now, click on your layer palette and click on the layer underneath. You can see your selection is still saved. As long as the Selection button is clicked, your selection is saved. You can see also on the screen that there's a bunch of diagonal lines representing areas that are not selected, and then areas that are selected don't have the lines. Technically on this layer below, there is a selection of these six shapes. What we want to do then is grab a color, any color you want. Let's just pick a nice bright color for the sake of this lesson and all you're going to have to do is click on this layer and click "Fill Layer". That is going to fill your shape with the color and it will not modify the line work above it. As you can see now, you have these shapes colored in underneath, and because we did increase the threshold, you do get some really jagged mess happening here on the edges, but it doesn't matter because when you cover it with the line work, that all disappears. That's why I had you increase your threshold to go much beyond the edge. That's a really simple way to fill in shapes. The second technique I use is called the cutoff method. It involves using masks and duplicating shapes to cut in and define your areas. With this technique, what you're going to need to do is go to your shape layer and duplicate your shape. Swipe to the left and click Duplicate. Then go on to that duplicated per original shape below the duplicated shape, and fill that in with black or whatever color you used as the outline. I did use black, so we'll fill it in with black. Just drag the colors out and drop them in. Filling is also something you can affect with color threshold. The same way you were using the selection tool, you can use the color drop tool in the same fashion. The more you increase your threshold, the more of the shape will get filled in. Anything that gets missed, just fill it in with your marker. The basic goal is to get a silhouette that matches the exact same shape as the outline. Click on your Outline layer, click on the Shape, and then click Invert. This is going to give you a white line overlay over top of your black shape. Reduce the opacity, so you can just see where those lines are. Then return to your silhouette. Click on the Shape and click "Mask". What a mask does is instead of erasing parts of a shape, it is just blocking the shape from view. You're not actually erasing or taking any of your original image away, you're just hiding it from view. The way a mask works is if you select a black and draw an a mask, it's going to remove a shape. If you select white and draw on a mask, it's going to add your shape back in. Anything between white and black will just be an opacity value. I'll show you what I mean. Let's choose black, and let's choose our inking brush. What we're going to do is we're going to cut into our shape to define the three different leaves. As you can see in the drawing, this leaf is over top of this leaf here, so what we want to do is define that by cutting in. Let's go to the left of this line here and we'll just do a nice cut inch line down to follow. I just need to decrease my brush size. If you turn off your overlay, you can see now that we've created the appearance of this leaf and this leaf being separate. I just need to do the same thing for the leaf on the left. Turn off your original shape, now you can see all three leaves are defined. The brain connects the fact that this leaf is under this one and this leaf is under this one because you've given us a line to define that idea. That's great. Now what you have is essentially three different shapes that you can fill in with color because you've masked areas out to define a space. What you can do now is remove your over shape and I would even go ahead and merge your mask with your shape. Go ahead and add another layer by clicking "Plus", change this to a clipping mask. A clipping mask is going to allow you just to draw on the shapes that are below the clipping mask and nothing else. This is a great opportunity to introduce texture already early in the drawing because you have defined shapes you can go nuts with using any brushes you'd like. If you invert this shape to white and you were to come in with a shading brush, for example, you can now go ahead and roll over this shape with your texture brush and that's going to give you that texture. Because you've defined the shapes already, you don't need to worry about where you're drawing. Then don't worry that you've gone over the edge because you can always grab your eraser tool with a nice monoline and just erase where you went over the edge. Add another clipping mask for a different color. Click the "Plus", clipping mask again. You're still affecting this shape with that clipping mask and draw again with your brush. We've gone over the edges on both, but that's again fine. Grab your eraser tool, erase where you went over the edge here. I love this technique because it gives you the opportunity to already start to define texture and it gives a really neat example of the outline of your shapes. The 3rd technique is the flat method. It's probably the most time-consuming because it involves redrawing most of your work with whatever brushes you'd like to use. There aren't many cheats here, but your hard work on inking will pay off because you have the shapes you're already 100 percent happy with to trace. The most basic way is to just reduce the opacity of your ink work, choose a brush that you'd like to draw your top of trees with, choose a color, and will just redraw that shape. It's really easy to do because you already have your ink work done so you just simply follow along on the lines you already created. I find it's a ton easier to draw a shape from a line you've already imagined than one just from your head. Go ahead and fill that in a different color. It can stay on the same layer or you can do a new layer. Then you can go over top of the colored shapes. You can drag your original line work above, which will give you the original shapes. Then you can draw your trunks in. I'll just pick a really dark color here draw these trunks. Next, we're going to talk about colors. I've included some color palettes here on the right-hand side of this worksheet. I've given you a little area down here to experiment and explore in terms of color and maybe use that space to make some pallets of your own. In order to get some color palettes, let's look at Pinterest. I've gone ahead and opened my colors from photo pinboard on my Pinterest and this is a collection of photos or illustrations that I found on Pinterest over the years that I really enjoy the colors from. I spent a lot of time on Pinterest looking for colors. Grab a photo that you really like and just download the image. We found some really great photos from Pinterest, so let's go ahead and use those. Let's add an image. Go to the wrench and click "Add" and insert a photo. Let's grab one of those photos. I use this one for an example. Let's bring that layer to the very top and you're just dragging it right into your style and color sheet. Move over to the left here a bit. Then to make a custom color palette, if you just want to have fun to begin with, grab a pen and then you're going to long-press on a color that you like. Let's go for this teal. All you have to do is put your finger there and hold it down. Procreate will grab that color. You can come down here to your experiment area, you just draw yourself a swatch. Can go ahead and pick another color, so let's go for this bright yellow, draw yourself a swatch. Then the other color I'm seeing here is this nice pink. That's a great three-color palette. When you're doing this, you're looking from the major strong colors and whatever is appealing to you from a drawing. There may be more than four colors that you want to use from this or there may be less, just depends on what you're going for. What you want to do then is click on this color in the top right corner, push clear on the "History button", click on the "Pallets key", and click the "Plus button". This is going to give you the palette menu. You can create a new palette by clicking here. From here, I like to use the middle bar line and I'll show you why soon. Let's grab our colors. We'll start here. We'll go blue grab that color, click once on your palette. Grab the light blue, click on your palette. Grab the pink, the red, the orange. These are the basic colors. Then at this point, I always like to add a white and a black. Click on the Classic, choose a pure white by going to the top left corner, bring that in. Choose a pure black by going to the bottom right corner, bring that in. Then you may want to find this neutral from the drawing itself. This beige color that's here, grab that color, put it above the white. Then to keep yourself working within that limited color palette, give yourself variations on these colors. That's the reason why I've chosen this middle bar because I like to use the top and the bottom bars to create variations on these shades. So a lighter shade and a darker shade. We'll grab this red and we'll go a bit lighter. Grab the red again and we'll go a bit darker. Define these colors at the beginning so that when you are looking for a darker orange than your main orange, you can directly select that color so that you're not selecting this orange and creating a different darker color or a different lighter color every time you need one. This will keep you very tight within your color palette. Now you have it. There's a nice five-color palette that you can stick to for a drawing with lightness and darkness variations. A pure white, a pure black, and a nice neutral. This would be a perfect color palette for an illustration like this. We've reached the end of our style and color exercise. Before you move on to what's next, make sure you spend some time developing the style you'd like to use for your final illustration. Spend some time pulling colors from photos and thinking about how color relates to your elements. Locking in style and color now will really help you create a tight and cohesive final illustration. I'll see you in the next exercise. Also, I love seeing your work, so don't forget to share this style and color worksheet that you've completed on the project section of the Skillshare website. 6. EXERCISE 4 - INK YOUR SKETCHES: Hello art friends. Welcome to Exercise 4, ink your sketches. How exciting is this? We've sketched all our elements to the semi comp level, and we've decided on the color and style of our drawings. Now, it's time to start making it happen. Inking is your chance to perfect your line-work and shapes and get to a really solid good copy. You will use all this line-work for when we start to add color, so don't skip this crucial step. The first thing to do, is to create a new document by clicking the plus button and again, and making your dimensions 5250 by 5250, just like our sketch documents. This way, you can simply drag over your semi comps and start to draw over top. You probably notice that 15 layers adds up quite fast when you're sketching and drawing. If you ever do reach your max, remember you can always start a new document, and as long as it's the same size as your others, dragging sketches between documents is a breeze. Click on the Gallery and then click on one of your semi comp documents and grab a sketch you'd like to start with. We'll start with this jellyfish guy here. What we're going to do, is click on the layer with your finger and drag it into the middle of the document, then click on the Gallery button, and then click on your new document that you just created, and drop your sketch in. Perfect. Now, we have a new document, 5250 by 5250, 300 DPI, that has one sketch semi comp on it. Like we did to get to the semi comp level, we're going to reduce the opacity of the original drawing, so you can just see your lines. We're going to create a new layer, we're going to select "Black". I'm going to pick our favorite inking brush. My favorite is called Built To Last, and it's one of the inker brushes that I talked about previously. I'll grab that brush and then I'm just going to go into my shape and start executing these lines in good copy. If you are drawing these shapes and you're getting a line that's just not quite right, remember, you can always modify those lines quickly without erasing with using a Liquify tool. Select the Magic Wand, select "Liquify", and then just push your lines around. By making your brush size bigger, you can modify your shapes. It's worth mentioning now, that if you have trouble with keeping your lines around the same thickness or you're not enjoying the variation that's happening from how hard you're pressing down on your pen on the paper, you could always go with a monoline brush, which is always going to give you a consistent line, thickness, and in terms of pressure. If you have trouble, just pick a monoline brush. This will allow you to draw any line no matter how hard you press and it will always be the same thickness. When you come to a curve, you can rely on Procreate for some help, just get yourself to where you want to be to start your curve. Grab your pen and just do the shape, hold your pencil down at the end. Then remember, you can edit that shape right away. Don't worry about matching the lines of your sketch, worry about making your shapes perfect. Nice confident strokes because you already have the shape defined, so be confident in your linework. Make sure you're using Undo if you're not happy. It's the magic of digital arts, so many great ways to get to a perfect place. Let's go ahead and add in some of these movement lines. Then if you are doing any flourishes on the outside, don't worry about adding too much detail to them at this point because we'll do that in the inking or the coloring stage. I'm pretty happy with that. That's shape number 1 or element number 1, drawn and inked in. Let's do Mr. Crab next. There he is. Just grab that layer with your finger, drag to the document, click the Gallery button, click your new document and let go. Now your semi comp sketch is there, you can reduce the opacity, and then just get drawing on that. Now, we'll go ahead and add some of the details in from the sketch, so drop the mouth. Let's go ahead add in these claw teeth similar to the action that I was doing on the jellyfish, simply showing. I'm going to have an alternative shape there. Don't forget if you are filling in shapes and you're not getting a clean edge, just to remember to drag the shape in and change your threshold. If you're down low on your threshold, you're not going to get a complete edge there. I like to keep mine pretty, pretty high. Bring your sketch on top, and invert it, then you'll be able to see those shapes. Grab my Eraser tool and the same inking brush. Do these two ovals here. Bring your sketch back below, then invert it. I've shaped two out of three. Let's move on to our clam and pearl. It looks like we've got our main shapes done. Now, we'll go in for flourishes, add some bubbles here and some movement lines, and there we go. I'm happy with that. That my friends, is inking your sketches. However many elements you are doing for your sketch, you're going to want to do this good copy line mark for each one of your elements, and once you've completed that, it'll be time to move on to adding some color. But for now, work on getting all of your elements for your illustration to this level, good copy, inked, linework, drawing. Watch along as I speed paint my other elements. Work on yours while you watch. Don't forget to add a new layer for each shape. If you max out layers, just create a new document at the same size and continue. 7. EXERCISE 5 - ADDING COLOUR: Hello art friends, welcome to adding color. You should have all your elements fully inked and ready to go before starting this lesson. The first thing we're going to do is create our color and space planning document. You'll use this to view all your elements together on one sheet to ensure consistency and size in relation to one another. Also, use this document to plan your colors. We're going to be coloring our elements individually and doing this lets you get rid of all the guesswork. If you have six or more elements to color, make a new document inside Procreate that's 18 inches by 26 inches with 300 DPI. Click on the plus and then the plus again. Change to inches and do 18 by 26 with 300 DPI. Click "Create". Next, we'll add a drawing guide grid. The idea for this is to place the grid on your document to help you with spacing and layout of your elements. I'm going to try to do three elements across and four elements down. So that gives me four rows of three. I'll decrease or increase the size of the grid until I feel like I have four solid rows. Here's how you do it. Click on the wrench and click on Drawing Guide, and then Edit Drawing Guide. What you're going to do now is increase the grid size till you feel like four solid rows across in space. 1, 2, 3, 4. That seems good to me. Now I have a relative idea on this document where I should where I should drop my elements and it will keep them lined up and arranged properly. Once you have your grid placed, go back out to the gallery and into your inked elements document. You may have several and grab one of your shapes. You'll notice your element is much too big for the space. But until you get some or more a few of them into your document, I wouldn't adjust the sizes too much until you're sure about where you want them to go. Go back out to your gallery. We're making sure that all of these are on their own level or layer. Go back out to your gallery, back into your inks, and grab an element. Grab the crab, let go, into your planning document. Drop him in, size them down a bit. Once you're happy with your layout, I want you to click out to the gallery and then duplicate this document. Select, click your document, and duplicate. Turn off your grid in the original and save this as JPEG. So wrench tool, Share, JPEG, and just save your image. For a background color, let's go to our Layers menu and click "Background color". I'm going to select one of these colors and just make it a lot lighter. Let's go with this green. I'm going to turn off my drawing guide grid by clicking the wrench and toggling Drawing Guide. Now I'm just going to start dropping in these colors. This doesn't matter because this is just a planning document. We're using this to get an idea of space, color, and shape. Let's just start dragging colors in. Make sure all our shapes are on one one and just pick colors for your elements. I'm going to go for my dolphin. I think I'll go for a blue. The sea weed, probably would look good in a nice green color. I might vary that a bit. Maybe make the line drawing one in the background a different color. But for now I'll just drop that as it is. I think I'll go with red for my squid. Once you have all your elements colored in and you're happy with the overall balance and color flow, we'll start with coloring our first element in the main document. Spend some time here and if you're not happy with what you've colored a certain element, maybe move that around. Move your elements if they're not working together in relation to each other. This is giving you an idea of balance and color space. Save this color planning document along with your black and white version as JPEGs and share them to the project section of the website. So your ink plan and your color plan. 8. EXERCISE 5.5 - ADDING COLOUR PT.2: Let's begin coloring. I'm going to start with Mr. Crab. Now is the time to recall your style and color worksheet and start executing the style you've decided on. I'll show you quickly a few different options as a refresh, and then you can start dropping some color. So exciting. Remember the three styles I talked about, and also remember you can choose your own style and draw your drawing in any style that you like, but these are the three that I'm concentrating on showing you in this class. First, if you remember I talked about keeping the outline of your shapes. If you're really liking your line work and you've done some solid mono line work and you want to keep that in your drawing. For example, in my sticker pack for Christmas, I did keep my outline work in these drawings. You can see the outline is there and the shapes are just filled in. That's the first technique I'll show you with Mr. Crab. Because you're going to want to alter the colors underneath the line work, you never want to put your color on the same layer as your line work. You always want to affect the color you're filling your shapes in with different textures and lighting, and it's impossible to do that if you have the line work on the same layer. To get around that, make sure we're on our crab layer. We're going to grab the selection tool, and we're going to go automatic add. Then we're going to click a shape and drag. Now you remember I mentioned you want the threshold to be quite high so that your shape is going past the black line underneath. Your ship filling more of the shape that's necessary, but it's going beyond the black line or your outline work. Select a few more shapes that you know are going to be the same color. Go to your layers palette, make a new layer underneath. Then click on the layer and click "Fill Layer." All the shapes you've selected will be filled in in that color, and it looks great. Nice and sharp, no white lines. You can affect the shape on its own layer. That means you can come into this layer and change anything about the color shading and it won't affect your line work. That's style technique number 1. Technique number 2, you'll remember, revolves around masking and cutting into your shape to define spaces and shapes. What we'll do is we'll duplicate Mr. Crab, and we're going to go to the one below and turn off the one above. We're going to fill in all the shapes with black. Then just grab your paintbrush and anything you missed there. Just fill it in with your standard inker because you want a solid black shape. Now we have a fully blacked out crab, and we have our original ink drawing on the top. Let's invert the ink drawing on top so that it becomes white. Click on the layer and click "Invert." It's just going to change the color of your line work. Then you're going to reduce the opacity of that down just so you can see the lines. But enough to not have it getting in the way of what you're doing, so usually do around 10 percent. Then you're going to go back down to your black version of the crab. Click on the layer and click "Mask." It's going to put another layer above the crab, the mask layer. You'll remember that black removes and white adds to your shape. We are cutting out of the crab, so we are going to use pure black. Grab your inker. Now basically what you're doing is cutting into the shape to define them from each other. The next step for coloring in this style is you're going to want to turn off your line work above. Then you're going to want to duplicate. Just delete that line work. You're going to want to duplicate this layer so you can keep your mask diversion, turn it off, merge those layers together. Now you have actually physically cut the shape so you have a preserved mask diversion and then one you've merged here. You can just go ahead and drag those colors right in. Or if you're wanting more of a textured look, you can make those parts white, and then you can come in with a textured brush. Make a new layer and do a clipping mask on that shape. What that does is it will only draw inside the shapes underneath. Grab your texture brush, and just roll on. Don't worry about going over the edges because you're on your own layer. You can just go ahead and grab a nice large eraser brush, and just go in and remove all the extras. Because you've defined your space with these cutout lines, it makes it easy to find where to erase the overdose. That's how you would color using this technique. Now your red coloring is on its own layer, so you would proceed through out this whole document, putting each color on its own layer, and then the end, just merging them down together. You would just merge that color on and it becomes part of your shape. The last technique is pretty much an actual redraw of your shapes because I want my shapes to not have any borders with each other and not have an outline. Basically all the shapes are going to be touching each other. What I need to do is just actually redraw all my shapes. That's what I'm going to be doing. Turning down the opacity, I'm going to grab my brush and just go for it. Then to define those different ones, obviously, you would keep it on its own layer until you are ready to merge it. But you could also go for a darker version in behind. Dropping in behind, creating a new layer, and then going through that. Basically, this is the style that I'm going for. It's a flat look with no borders and the shapes are actually touching each other. There's no cut ends or borders at all. Before you begin coloring your elements, it might be wise to put each of your inked elements onto their own document so that you have a lot of layering ability to do while you're coloring your elements. Because I am doing a flat technique, I'm going to need a lot of layers. This document is not going to provide me with much. I don't want to merge and lose any of my original line work, so I'm just going to start a new document for each element. To do that, just go back out to the gallery. Click on the plus icon and click on your 18 inch 5250 by 5250, 300 DPI document. Go back out, and so you don't get confused, rename to your element name, go into your final inked comps. Like we were doing for our planning document, we are just grabbing, pulling out, and then placing him into his own document. I'm going to add color for my crab, my jellyfish, and my clam with Pearl in detail with you as you watch. I'll speak about what I'm doing as I do it and you can follow along. But for the other elements, I'm going to be including them at the end of this lesson as speed paints. As you work on yours, you can watch along as I fill in color on the rest of my elements. Let's get going. Here we go on Mr. Crab. We're going to start with the body shape. I think these front two legs are probably going to be the same color as the body, so I'm going to do those shapes. I've got my main body shape there. I can go ahead and just fill that in. This second leg here is behind, so we'll go a bit darker on the color just to keep it defined from the other. New layer, this is underneath the body, and we're going to go darker. We're going to just grab these shapes now. You will really need to continue that shape underneath, because you're filling it. The shapes have to be closed and in order for procreate to know where to fill. I'm going to fill that shape in. Perfect. Turn off your line work to check. Happy with that. Next, we need to add our pincers in the front. Let's do this medium color, and let's go above the main body outline. I want to start the shape here. Grab that color, and we're going to want to go over top of the body. I can draw his mouth on the same layer with the black. I can create a clipping mask on top of that layer and draw in your tongue. Let's choose red. The darker red. Do clipping mask on the black, [inaudible] the tongue there. I don't think I'm going to add any of the [inaudible] at this point because we'll do that later with finishing. Basically, what I want you to do as you finish this exercise is get all of your shapes for your elements colored to this level, define all your shapes, keep your elements all on their own document so you have lots of room for building in layers because when we come in to add texture and lighting later, we'll want to be able to manipulate each of these shapes on their own. Don't merge anything, just keep it how it is. Any [inaudible] you've added, twinkle lights or bubbles or flax of any sort, we can add those in when we're finishing our stickers. There he is Mr. Jelly. Go in with a new layer and reduce the opacity of that guy. From our color planning document, I'm going with pink for this guy. I'll start with the main shape, main pink color, just this middle line, your standard colors are on the middle, and we'll go for the main head shape here. Always check to make sure you're on a new layer for each shape you're drawing because we're going to want to manipulate those shapes later, we're adding light and texture. Perfect. That's looking great to me. Again, that's probably the end of what we'll do for now on these shapes, just filling in the major shapes and getting them defined, but we're not adding any of our texture or embellishments in. I've left out all of these details because we'll add those in our next stages when we do texture and lighting, and when we finalize our sketches. Next, I am going to color in my clamshell and pearl, so we'll turn down the opacity of this guy, and we're going to just draw this main part here down at the bottom first, so go with the main color blue. I'll go on top of that layer, and I'm going to choose a lighter blue. Then inside, go a darker color, that's going to be below both of them. Now, we just need to draw on our pearl, so turn off all those, go above the bottom layer. Well, it looks like that brings us to the end of adding color. All we've done is taken the basic shapes and add it in our major colors on all the elements we're using for our final drawing. You should be to this stage before moving on to the next exercise. If you're ready, I'll see you there. 9. EXERCISE 6 - TEXTURE AND LIGHT: Hello, art friends. It's time to talk about texture and light. This is my favorite part of drawing because this is the part that really makes your illustration come alive. We're going to look at adding some shadow, some light, and some texture to define the shapes. Here we have my good old jellyfish for my illustration, and what we're going to do now is start to lay down some texture and lighting to really make this thing come alive. We've got everything on its own layer because we've just finished filling in all the colors, and so now I think I'll start with this main head shape here. What I want to do with this is I'm going to add a gradient feeling to my art this time and make the color of each item start from light and go to dark. An easy way to do that in procreate is with an Alpha Lock. What Alpha Lock does is it contains on the layer only the space that you've drawn in and only will allow you to draw in that space. It's a convenient tool for adding layers of color, and I'll show you what I mean. So turn on Alpha Lock by clicking on the layer and clicking Alpha Lock. Then what you want to do is grab that pink color and go to your classic and choose a lighter pink, so make it lighter, and then grab just a regular round brush and add in some light pink near the top. It doesn't matter how it looks. Then grab your main color again and make it darker. Then you're going to run that along the bottom. So now you have three layers of color, and because we're Alpha Locked, we didn't go outside or the edges. Now, here's the magic part. We're going to make this into a gradient. So all we have to do is grab our Gaussian Blur tool, which is up here in the menu underneath the magic wand. Grab your Gaussian blur for the layer, and then grab your pen and start dragging it across the drawing, and you're going to see here a gradient start to happen. All you have to do is adjust this slider until you're happy with the result you are getting. So we've got a nice light to dark happening there, and you don't see any edges. If you lower it down, you do see your edges. As soon as you feel like you've removed all the edges and you're happy with the gradient you're getting, release your pen. That's a really easy way to add gradient lighting to an object. I'm going to go ahead and go through and do all the shapes in my drawing like that. Well, before we add anymore lighting, I'd like to go back to our drawing and make sure that it's brought on top, and that you'll have it lined up with your drawing. Now's the time to add in some of these lines at the top, and I think I probably will do that within the overlay, which will give me a cool effect with an alternate color that will just sit on top of this. I'll show you what I mean. Do a layer above the element you want to effect, change to the clipping mask if you know you're going to go outside the lines, and then do an overlay. I like to pick a really almost black color that matches with the drawing, and I'm going to grab my inker, and I'm going to draw in those shapes. Overlay is really cool because it gives you a subset value of the color that's underneath already, so you can get a really cool effect going that way. To add a bit more lighting to it, you'll again add a clipping mask to that layer, so you're only affecting the layer underneath, and you're going to do an overlay, and you're going to choose a dark color on this to a black, and you're going to go in on that main tentacle and define the shadows. So we'll go in, and I'm just using a regular round brush, a monoline brush, and I'm just going to lay in some shadow colors here. Well, it's going to be, and then we would reduce that down to maybe, 33 is usually the magic number for me, it usually works for me to add my lights and darks. Then I'll choose something that's close to white, and I'll go in with our highlights, and I think we're deciding that the light's coming from the left-hand side. So every time you're adding light and shadow, you just have to keep in mind that you're remaining left with a light and right with a dark. Really make a nice-looking highlight. That's looking good for shadow and light, and so the last thing I like to do is add a little bit of grit to the drawing to get a little bit more dimension happening. If you're happy with how these shapes are looking, you can go ahead and merge any of your overlays over and merge some of your shapes together. Then we'll go to the hat layer and we'll add a clipping mask, and we're going to choose a black color, and we're going to go into my nitty-gritty brushes, choose video 1, and we'll add some black. I like to change this to an overlay just for a cool effect, add some black there, and then add some white. That's about it, and that's all I would actually do on this type of drawing. I've added some major shadows and lighting, and I've added some texture, and I've added some more detail into the drawing. Now I'm pretty much finished with my jellyfish shape, we can go ahead and test it against the background color we've chosen, see how that works. That looks cool. I'll turn that back off to white. That's it. Now jellyfish is done, so the next one I'll do with you is Mr. Crab. 10. EXERCISE 6.5 - TEXTURE & LIGHT PT.2: Here's Mr. Crab and like the other shapes, we'll start with gradients. I'm going to turn off all those other shapes. This is the main body shape as weird as that seems, just looking at it on its own. We'll grab this red. Again, remember to change the shape to an Alpha Lock. Then we're going to grab a lighter red, just a smooth brush. Then we're going to grab our Gaussian blur and get a nice gradient going on my shapes. I think it is time to just start hitting these shapes with some light and dark. So first we'll start with the body. Do an extra clipping mask there, change it to overlay, choose a white and a smooth line pen, and just come in here and do some experimenting. You just need to keep trying different things until you end up drawing something that you like or that makes sense to you. So much for this trial and error. Sometimes when you're doing the drawing, you may feel like, I'm just not getting this, this isn't working out, this isn't what I envisioned, but stick with it because the more you work your drawing, the more you'll figure out your shapes and your shadows and your lighting. You just have to keep planning and persist. Before I add any grid, I'll just go add a new layer and I'm going to add in some of these texture lines. I'll go in with a overlay, with a black, and use my inker. I've got my sketch pulled up over the top and it's inverted, so it's white and I'm just going to go on and add some defining shapes. Now we'll go ahead and add some grit, so I'll put a new clipping mask layer over top of the clause. We're going to go in with our nitty-gritty brushes, and we're making sure that it's overlay, add some black. I really love the effect of this. Some white. Perfect. I can merge that in. I can go ahead and do the same thing to the body layer, clipping mask overlay. Awesome, so that's looking great. I'm really happy with that. As I was starting out this shape, I wasn't sure if it was going to come together, but like I was saying, you just sometimes have to persist through keep going, follow through with your ideas and some good things will come together for you. We'll get started on our next shape here. We're going to create our Alpha Lock gradients first. Just turn off all the other shapes and the sketch in Layer 1 on and do Alpha Lock, and grab this blue color, make it lighter. You want to grab this blue and we're darker. Then we grab our Gaussian Blur Tool, grab our next shape, and I'm thinking it for inside of the shell, you probably want it to be dark to light in that way. So we'll see how that works first. So Alpha Lock, grab the blue color, make it a lot darker. We've got some nice lighting happening already with some gradients here now. Already it makes the shape look a lot more dynamic. We can turn our sketch layer back on, and then I think what we'll do is next we're going to hit it with some stronger light and shadow. Take my smooth line pen and a nice white, I'm drawing this first shape and I'll make a clipping mask and make sure that that's an overlay. I'm just going to hit that with some white at the top. Cool. Now I'll go on to the inside shape, edit with some light. If you're wanting your light and dark to be at different opacities values, it's okay to stack two or more clipping masks on top of each other like I've done here. Nice. I'm pretty happy with that. It looks nice and shiny, so let's go ahead and add in some of the lining details now. Very cool. Now let's turn on our pearl and figure out how we're going to light this baby. I think what I'm going to do is I'm going to grab a shader brush and just experiment a bit here, so I'll go into my VisualTimmy set, and grab this Trails Texture and see what happens if I just start. I think I'm liking that a whole lot more. It looks pretty cool. Let's make a shadow underneath the pearl. Then the last thing to do on this shape is just to add some of our gritty texture to all the layers. There we have it. The next finished illustration remember I haven't added any other flourishes in or the bubbles because I'm thinking about maybe adding those into the final assembled drawing. We'll see what happens with those later, but as you can see, we've added a gradient to each piece. We've added some nice highlights, blushes, and some shadowing happening and then defined the detail lines. We added this pearl, gave it its own shadow, and then we added some overall texture to the entire thing, so I'm pretty happy with how that looks. 11. EXERCISE 7 - ADJUSTMENT LAYERS: All right. Welcome to adjustment layers. This is where it all comes together. In this exercise, we're going to create a document where all our colored and texturize stickers or elements can live together, so that we can see our color and balance has turned out, and also, it's really neat to be able to see your art come together finally, as a final piece all on one document. What I mean is, we're going to be bringing them all together in to one sheet so we can view all our stickers together. Let's begin by duplicating our ink plan document. Remember we made this document before to place where we'd like to have our stickers show up on our final documents. Let's go ahead and duplicate that document, and then just open that up. Then the first thing you're going to want to do is make a new layer for a background color. All you have to do is choose one of your colors, make it a lot lighter, and then just drag it in. You'll notice that you have your ink plan already there. That's perfect. This is going to help you with placing all of your elements on this document. We can keep the opacity quite low of that drawing. You just need to see where the elements are, and where you wanted to have them, and then what you're going to do is you're going to start dragging your elements in to the document. For example, I'll show you squid. I've finished my squid, as far as I want to. I've added my texture and light and now I'm ready to drag it in. I will merge some of the stuff that's happening here and get to a flatter document. I think it's safe to merge all these things together except for the bubble that he's riding on. I'll bring that separately, we'll group that together and we'll drag the group out into the gallery and into our final document. We've got our imported guy there. We'll put the bubble underneath him and then just drop him into place. Don't worry about getting the size perfect yet. Just drop them in and you're ready to go. Then I want you to do that for all of your elements. I've already gone ahead and started to do that. You can see that all my elements are starting to fall into place here. I've got my original ink plan underneath, so that's going to give us the idea of where we put our splashes and our bubbles. If we decide we want to add those in, we can draw them in. So keep that ink plan layer active. I'm just going to go ahead and continue bringing all of the rest of the elements in, and you can do the same for yours. Great. Now we can turn off our ink plan, and wow, you guys, we have done it. We have created our document with our elements on it, and they're all living together under one document, and this is a really big moment, guys. So take a deep breath and really take in the fact that you've done this and you've put in the work, and you've done all the steps, and you've made some shapes and some elements that are really, really cool and go together really, really nicely. We've got some nice color balance happening here. We've got different shapes and textures. I'm really happy with how this is looking altogether. To go along with my theme, I certainly think about what are some other elements that I could add to this water in the background to give my drawing a little bit more dimension. What I have done is I've created a new document, it's the same size as the elements documents that I created. I just drew some simple waves with my ink or pen in black, and I also drew a few fish, just some random fish. What I think I'm going to do is I'm going to go ahead and I'm going to copy the selection. I'm going to go click on the layer and click "Copy", go back out to our drawing, our final drawing. I'm just doing a new layer and I'm doing a three-finger swipe, I'm clicking "Paste". There's my fish. I'm going to bring that down below everything. Because I've done them in black, I'm going to see how they look as an overlay. I'll do vivid light, which I really like. Add 39 percent there, and I think I'll move those fish down here and make them a bit smaller. All right. I already have something happening here now, which is cool. I'm going to duplicate this layer again, and I'm going to take some more fish and put them up here. We can go back out to the gallery and we can grab the other element that we've created. We duplicate this, and we'll grab it, and we'll bring it up here. All right. This bubble thing that's happening underneath of the squid, change this to black maybe. Copy. Create a new layer mask. Paste. Perfect. Now, I've got this black masked in, and I can change my color back to what I had it at. I like this color. Write that in. What you're wanting to do then to get this bubble effect is, if you have this shape selected and you've masked it, now you're going to want to blur the mask. Go to Gaussian Blur and Layer, and then you're going to drag, and you're going to see that that outline is going to show up. Pretty cool, really neat effect. Awesome. So that's looking like a nice transparent bubble now. All I did was make a shape, copy it into a mask, and then I'm blurred the mask on top. I'm going to grab that original color again, and deepen it up there. Yeah. That'll be good. That's a nice deep blue. We've got that color swatch in memory. Now, we can move it to black. We can copy, create a mask. We can paste by three fingers swiping. Then we can color our shape back to the right color, and then you're going to blur your mask to get that bubble effect. Now, I think to add a little bit more depth, what I'll do is I'll just grab a nice large brush, create a separate layer, make your shape, and change the blending mode maybe to overlay. Since that's the one we've been using, although vivid light looks nice as well. Stick with overlay. Then what I'm going to do is I'm going to play with the Liquefy tools. Now, we've got another layer of action happening there. Now, we've added bubbles, we've added fish, we've added some waves. I added a little bit of a background happening. Now, I want to talk about adjustment layers. Adjustment layers are any layers you're adding on top of your artwork to add effect or a color overlay or some noise happening to your drawing. It's something that I like to do at the very end of a drawing. Click the Plus icon and grab a white, and just drag that in. You're going to have a white shape on top of your drawing, and then you're going to go to the Noise function underneath the Magic Wand, choose Layer. Make sure you have it on single as the channel, and then you're going to just bring the scale up. I don't know. I think usually around 53 is where I go. No real rhyme or reason to this number, but seems to work well for me. I'm happy with that amount of noise happening there. Then what you're going to do is change the blending mode of this layer to divide. What that's doing is, I'll leave it on maximum for now just so you can see the effect. Hopefully in the camera. You can see that it's adding a bunch of noise to the drawing. Right now, it's a little bit too much, so we'll just reduce that down. Usually, I do around 33, and that's just adding some really cool noise to the overall drawing. Just in terms of adjustment layers, anything that you're doing at the end of your drawing, and adding to the top of your drawing, and then dropping a different blending mode on top, these are called adjustment layers, and they are great ways to modify the color and feeling of your documents. I've also created some shapes that I like to use on a daily basis as my own brushes. I'm going to grab a couple of those, so I think this one are usually add to most of my drawing, so I will go for a dark green, and will see you at that size looks like. A little bit bigger maybe, do one there, one there, one there. We'll grab a different color, maybe this other blue, and I will have a different shape. I actually feel like that's probably enough. We don't want to go overboard and use all the colors from the drawing. I feel like I've forgot some staff happening in all areas here that I'm happy with. That brings us to the end of our adjustment layer exercise. We have our completed drawing inside its own document with some really cool adjustment layers. We've added some fish, we've added some bubbles, we've added some waves and some little shapes to add interests. We've added an adjustment layer to get a little noise and brightness happening. Oh my gosh, you guys, we are done. I can't wait to see what you come up with. Please share your final document with me in the project section on the website. 12. EXERCISE 8 - FINALISE YOUR STICKERS: Now that you've pulled together one document containing however many elements you're drawing for your set, you're probably wondering what to do next with what you've created. I have some great ideas for you. I'm just going to have you watch along as I make a few final changes to this document. I'm going to add a title. To do that, I'll click the launch and click "Add text.'' I'm going to call this Creatures Of The Sea, and my name. Then you can change the color of this title by clicking "Edit Text" again, clicking the color palette, and choosing a color. I think I'll go with this bright green. I didn't use it much in the drawing. I think that goes great. You can now take what you've illustrated here and sell your creations as elements or clip art on the Creative Marketplace. Here's a few examples of some lovely sets people have created and are selling right now on the marketplace. You can also duplicate your drawing and create a special illustration that is perfect for sharing on Instagram with all of your awesome elements included. This format isn't perfect for Instagram as it's not square. We could make a new document just for Instagram by going out to our Gallery, clicking the Plus icon, and clicking "New Document.'' Instagram's native size is 1080 by 1080. But I like to double that just to give myself a larger version to save. I usually make my art for Instagram specifically at 2160 by 2160, and I still keep the DPI high at 150. That still gives me over 111 layers to play with. Click "Create.'' Now you can go back out to your gallery again and click on an element. Click on the flattened version and click "Copy.'' Then go back out to your new Instagram document, three fingers swipe, and paste. There's your seahorse on a new layer. Don't resize it yet until you add more elements. Then as you start to arrange your drawing, you can change them or reshape them or move them around. The goal of this is to come up with something a little bit more fun and playful and perhaps more editorial for Instagram. This will be your drawing and your elements together in a more exciting and dynamic drawing that you can create with all of your elements in a different way. The last thing I would do before sharing this to Instagram is add my name to it or title. I've got a stamp brush for my name already created, but I'm going to show you how to do your own. You can download the your name brush from the Student Resource section of this class on the Skillshare website. I created this brush for you so that you could create your own tagline that you can add on your Instagram posts. To import this brush, click on the Brush at the top right and click on the Plus icon. Click on "Import" and then just find the brush on your device and click it. Once you have it imported, you'll see it here like this. It will say your name. Obviously, you're not going to want to use it how it is, but this is how it functions. Undo that. To make it unique to you, you're going to need to change a few things about it, and we'll do that in a new document. In this new document, click "Add text" and do something that's unique to you. You can choose a font that suits you. You can use your name. Do a simple doodle here. You could illustrate your name with in cork. The options are endless, but I'm just going to do something simple. Extend the size of your text to the full size of the document and place it in the middle. You're just going to save this as a JPEG by clicking "Share" and "JPEG,'' and save to your camera roll. Now that you've done that, you can edit your brush. Find the brush that you imported and click on it. Click on it again to edit. Go under the Shape tab on the left, and under Shape Source, click "Edit.'' Here you're going to click "Import,'' ''Import a photo,'' and choose the one you exported and import it here. Click "Done.'' Click "Done" again. I've made all the other changes that are necessary to this brush, so you don't need to do anything else except use it. Click on your drawing in a new layer, and you can stamp your drawing all over. We'll go back out to the Gallery, and we'll click on our more mixed up drawing. We're going to add a new layer. We're going to try out our new stamp brush. I'm going to use my stamp by regular, and I'll click on the drawing and grab a cute color for it. I'll just click on my drawing there, reduce the size a bit. There you go, a very unique way for you to call out your name on Instagram. You can keep it consistent for all your drawings because now you have your signature saved in your brush library. I use mine on all my Instagram work. When you're happy with your more mixed up creation, you can share it to your favorite social media. Add your signature and save as a JPEG. You can sell your stickers in your own online shop through a third-party printing service like printful.com. You'll find that we made our files nice and big, so sizing down to a four-inch or even five-inch sticker in Photoshop is no worry at all. I have a few more ideas for you in the bonus lesson up next, but I hope you're seeing the potential in creating drawings like these. You really get to study and absorb a lot from whatever world you're drawn from or creating, whether your elements are around a season or a place on earth, about a movie, or a book. The style you're drawing and how many you create for your sticker sets is up to you, but the potential is huge for making sets like these. I really hope you've enjoyed my class. I'm looking forward to seeing all the magical worlds you illustrate. I know you'll create something fantastic. Take your time, study your theme, and really dive into the process as I've laid out, and you're guaranteed to make something awesome. As always, don't forget to share all your steps along the way to the Project section of this class on the Skillshare website. 13. BONUS EXERCISE: Hi, everyone. Welcome to the bonus exercises. We're going to start today with creating a seamless repeating pattern out of the elements we've drawn. The first thing you need to do is make sure that you've got the Pixelmator app. We'll just go out to the App Store, and you'll search in Pixelmator, P-I-X-E-L-M-A-T-O-R. What you're looking for is this one with the orange and red ombre icon. The first thing you're going to want to do is start a new document that's 5250 by 5250 as we have been doing, and then you're going to want to copy and paste all of your elements in. I've already gone and had it done that so here's all my elements on one sheet. You can see I can move them all around individually, and that's going to be the goal of this project. Basically, just get yourself, get all of your elements that you'd like to put onto your pattern into one document, just like this. Once you're finished with that step, you're going to want to duplicate this document by going out in the cap into the gallery and clicking on "Select". Click on that and then click "Duplicate". Once you have your document duplicated, you're going to want to go ahead and open that up. Then what you're going to do is take all the elements that you've put on and start to arrange them in a pattern that you like. You can rotate some of your elements, sizes, and some of your elements down and some of them up. Some of the elements you'll want to get very close to the edge in certain spots, but not touching the edge. You can see down here on the left, down here on the right. I've also included some whitespace so don't be too fussy about filling all of your whitespace in at this point. This is just the first stage of your repeating pattern. Once you have this completed and you're happy with it, what are you going to do is take this now into Pixelmator. You're going to have to export this document as a JPEG. Click on the wrench, and "Share", and choose JPEG. Open up Pixelmator and what you're going to do is you're going to click "Create Image" and you're going to Custom and you're going to just click down here, and you're going to make your document size 5250 by 5250 to keep everything very consistent. Click "Create". Bring out your layers panel by swishing to the right here, then you're going to click the plus icon and you're going to click the image that we just saved. What you're wanting to do is duplicate this image. Come over here, click and Duplicate, click and Duplicate. Once you've duplicated your document three times, you'll click the top one and grab your image and slide it up to the top left. You'll know you're at the top left when you've got your yellow snapping icons happening there. You can see them left and right. We know we've snuck that into the corner. You might have to do it a few times because the Pixelmator might drop, get in the wrong spot so just make sure that you've confirmed with that happy click, or creating a half-drop pattern here instead of just the full break just so that we have a little bit more variety going on. We dragged up to the top left so let's drag down to the bottom left with our second one, and then with our last one to create the half-drop, we're just going to slide that image all the way till it snaps. Now, we've got some perfect slices here. This is the second stage of our half-drop repeating pattern. You're going to want to save this now, so save image, Copy to Photos. That's going to copy to your photo roll as. You can see here, this is my second version we've just made. Perfect. Let's go back inside Procreate because we have some things to do here now. Let's insert the image that we got from Pixelmator and just insert your image by clicking "Add", "Insert a photo". Here we are. This is what it looks like. This is what we got from Pixelmator. You can see we've got some of our edgework starting to happen here where things are meeting and no seams along the edge. We could feel confident that that's all line up in the end, but what is the issue now is that you've got some awkward whitespaces here. Depending on how you like your pattern built, this is more personal choice, how much you're going to add into your drawing. But in these whitespaces, you'll simply just add more of what's already in your drawing. You still want to have some whitespaces around because you'll see as the pattern gets bigger, it's a nice break and rest for your eyes. So don't be tempted to crowd this situation at this point. You'll just want to get rid of anything that's feeling awkward to you and you'll know it when you see it. This is where the magic really happens. This is our last phase. We'll go back into Pixelmator again with this image. We've adjusted everything, we're happy with this. Now we're just going to save this as an image to our camera roll again. Click the wrench and click "Share" and then "JPEG". We're back inside Pixelmator and we'll open our layers panel, and then we'll do some more duplicating. Click "Duplicate", "Duplicate", "Duplicate". In the second step, we were just sliding our images up but in this step, we're going to be actually reducing the size of these elements. Grab your corner here and size that down till you reach the snapping point. Grab your second duplication and size that down. You'll see if you're checking, your elements are lining up quite nicely there. Perfect. Congratulations. You now have your own seamless pattern that you can do anything you wish with. Grab yourself some free mockup files from around the interwebs and start to play with your repeating pattern. Here's an iPhone 12 wallpaper that I made and here's some really cute gift wrap. Let's talk about Giphy.com. Giphy is the main place on the Internet where all animated GIFs and stickers live. Instagram actually uses these stickers when users like you searched to add them to your stories within Instagram. If you want to make fun, simple and cute, animated GIFs with the elements you've drawn, head over to Giphy.com and sign up for a free account. Before you start this section, I want to make you aware that I'll be using Photoshop to create transparent PNG files of my stickers as the export PNG function inside Procreate is still broken and doesn't actually give you true PNG files. To do this, I'll go back out to my gallery and choose the element that I want to create into a searchable GIF sticker. Let's go with pufferfish. To make a transparent background PNG, currently, you need to save this element as a Photoshop file, so PSD. Go ahead and save that to your desktop. Next, we'll be opening Photoshop on the desktop. Go ahead and open your element inside of Photoshop, and then turn off the background, then you're going to want to click on "Image" and "Image Size". We're going to reduce the image size because we don't need 300 DPI for the Internet. Let's just cut it in half to 150. We'll go File, Save As, and choose "PNG" as the type and Save. Now, you'll have a PNG version of your element saved to your desktop. Click on "Create" and then click on "Sticker" and then find your transparent PNG file that we created in Photoshop and click "Choose" for upload. Because this is already a PNG file, we don't need to remove the background already as we've done it in Photoshop. Next, we'll continue to animate. Here's where the fun happens. Giphy has a few built-in features that you can choose to use on your animated sticker. If you're looking for something that's just simplistic like this, this is the perfect place to start making your animated GIFs. I like this jelly one here. It's cool. I also like the zoomie. Maybe I'll go with zoomie for now. Giphy has this cute little function. If you like, you can use it and add a border to your sticker to make it look more authentic. I think I'll try that out. I'll click white and then add maybe 10 pixels around the edge that makes it look cute and stickery, and then the next is just continue to upload. As you can see, now I go back out to my account and I've uploaded two items. I've done a bouncy seahorse and I've done a gloopy, cute, pufferfish. 14. CONCLUSION - THANK YOU: Hey guys, we've reached the end. Thank you so much for taking my Skillshare class. I truly appreciate it. If you've enjoyed yourself drop a rating in Skillshare. This is my first class, so I'm looking to get better and better. Before you go off and do your own drawings, just remember to stick to the process as I've laid out, especially during the brainstorming and sketching exercises. The work you put in here will pay off, I promise. If there's anything you'd like to discuss or talk about, feel free to drop it in the comment section below or you can reach out to me personally. Also, you can find me on Instagram, @christopherjeske. Thanks again for taking my class.