Digital Illustration: Draw An Illustrated Boarding Pass in Procreate | Esther Nariyoshi | Skillshare

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Digital Illustration: Draw An Illustrated Boarding Pass in Procreate

teacher avatar Esther Nariyoshi, Illustrator | Surface Designer

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (1h 16m)
    • 1. Class Trailer

    • 2. Brush Audition

    • 3. Inspirations and Colors

    • 4. Sketching

    • 5. Inking Simple Elements

    • 6. Inking Advanced Elements

    • 7. Adding Textures

    • 8. Final thoughts

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About This Class




Yearning to travel but stuck at home? No Problem! This class is all about utilizing fun and simple illustration techniques to draw an imaginary boarding pass to your dream city to while you anticipate (aka agonizing wait for) your future trips. We will start with a list of things, places, or people that you want to visit. Research our references. Sketch on iPad in Procreate, and bring life to our sketches with colors and texture. We will work on topics of composition, color harmony, and non-destructive techniques, etc. that make your art more adaptable. These skills are assets that you can easily apply for your future illustration projects on other topics.

The final project can be printed on to a postcard to send to your loved ones. You can also use some elements to be framed as wall art. Last but not least, you could use it as a Zoom background just to drop a PTO hint to your boss. Who knows, this could be just what the doctor prescribed.
This class is great for anyone who can hold a pen and doesn’t mind dreaming a little. 

Consider this class a delicious dose of placebo for your wandering heart. 




  • Class Trailer
  • Brush Audition
    • How to Customize Gesture Controls
    • How to Set Up a QuickMenu for Select Brushes
    • How to Use QuickMenu On the Fly
  • Inspirations and Colors
    • Brainstorm
    • Making a Bucket List
    • Researching Visual References
    • Creating Moodboard
  • Sketching
    • Sketching Techniques
    • Basics of Composition
    • How to Optimizing Your Brush for Sketching
  • Inking Simple and Advanced Elements
    • Basic Layer Techniques: Layer Mask, Clipping Mask
    • Implementing Non-Destructive Techniques
  • Adding Textures
    • Basics of Adding Textures
  • Final Thoughts


Join Esther on the Live Session on March 3, 2021 3PM EST. and Draw another Boarding Pass with her on LIVE

Meet Your Teacher

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Esther Nariyoshi

Illustrator | Surface Designer

Top Teacher


Esther Nariyoshi is a Surface Pattern Designer and Illustrator. Her work has been licensed to multiple companies, including Cloud9 Fabrics. Her work has been featured by UPPERCASE Magazine, and was selected as Top 100 Surface Pattern Designers in 2019 by UPPERCASE Magazine. Her creative design projects are also featured by Spoonflower Blog, Skillshare Blog, Print and Pattern Blog, etc. 

Her style is playful, whimsical yet with a purpose. She is a wizard in vector drawing and digital painting, yet manages to give intriguing texture to her creative works. Her artistic point-of-view is influenced by diverse cultures she has lived in. 

Check out the work at

Get connected over -> Instagram... See full profile

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1. Class Trailer: I haven't met any person who doesn't like to travel yet. Deep in our hearts, we all have a list of places that we want to visit someday. Whether it's an epic trip to Machu Picchu or a sunny walk on Hawaiian beach, or a taste of authentic curry in actual India. Do you see what I'm getting at? Then here we are, supporting our ever-growing collection of pajamas all day, every day. This particular person looks like she hasn't left her living room for about 315 days. But who's counting anyways? Even her outfit starts to match her couch. Well, the point is we can't travel all the time or whenever we want. But you know what? I may have a solution for you. Drawing yourself a nice little illustrated boarding pass while you're stuck at home. Scratch that. I'd like to think while you anticipate your future trips. Consider this class a delicious dose of placebo for your wandering heart. Hi, my name is Esther Nariyoshi. I am an Illustrator and Surface Designer. I draw things that live on fabric, magazines, stationery products, and I'm also top teacher here on Skillshare. In this class, we're going to embark on the fun expedition of a dream vacation on your iPad, and turn it into an illustrated boarding pass. Give your mind a mini vacation for a change. We will start with a list of things, places, or people that you want to visit, research our references, sketch on iPad in Procreate and bring life to our sketches with colors and texture. We will work on the topics of composition, color harmony, and non-destructive techniques that make your art more adaptable. These skills are assets that you can easily apply for your feature illustration projects on other topics. The final project can be printed on to a postcard to send to your loved ones. You can also use some elements to be framed as an wall art. Last but not least, you could use it as a Zoom background just to drop a PTO hint for your boss. Who knows? This could be just what the doctor prescribes. This class is great for anyone who can hold a pen and doesn't mind dreaming a little, at least for an hour anyways. Well, that's my pitch. I hope you are on board. 2. Brush Audition: Before we hit the ground running, I'd like to take care of a few things to speed up the process. One of them is to narrow down my brush selection. For each illustration or a set of illustration that I'm working on, I usually just narrow down to 4-6 brushes to keep the style consistent. But it takes too long to switch between brushes as I'm drawing. What I find it really helpful is to bring all your brushes and turn them into a quick manual. When they are all set up, you can switch between them in split of a second, like this. It's super convenient when you are drawing because you don't have to slow down to try to remember which brush you have selected. Anyways, let's go. Let me grab a juicy watercolor brush here for the demo. Go ahead and draw a simple spiral-like this, as you draw, vary the pressure applied to the brush. In this way, it's easier to see how your brush reacts to pressure, which is a very important factor. Then lay down a horizontal stroke right on top. This combination of shapes may seem simple. In fact, it contains a lot of information. We can already tell the pressure sensitivity from the changes in the stroke width. In addition, we can also tell how the transparency changes when a stroke overlaps itself from these intersection points. This horizontal stroke tells us how two different strokes overlap each other. Also, as we draw this spiral shape, our hands can also get a feel of how the brush reacts to different tilting angles, as well as the edge texture altogether. These pieces of information are helpful to consider before you start illustrating. Go ahead and play around and try out different brushes to see which one you like. This process is what I like to call, a brush audition. These are the four brushes that I've selected for just this project. Now let's figure out how to add them into one quick menu to speed up our process. There are different ways of invoking quick menu. I've set it as a one-finger tap. If you want to do that, you can come over to the wrench icon, which is "Actions" "Preferences" and "Gesture Controls" and "Quick Menu." Then toggle on the "Touch" option over here. Tap anywhere on Canvas to activate, tap the middle button, and then plus icon to add your own menu. Tap it twice. If you would like to rename it, you can rename it to the project. I'm just going to say "Brushes" here and then tap anywhere else on the screen to set up each individual options. Tap on any button in the radio menu, you will see the "Set Actions" options. It has all the commonly used actions. It's alphabetical. For our purpose, I'm going to find the "Select Brush." You can go into different brush folders to dedicate that particular button for one brush, the list mirrors the exact folder structure you have for your brush library. I'm just going to go into different folders until all my positions are filled. I know I've covered this process super-fast. Feel free to go back and watch it a few times if you want. Now I'm done setting up my quick menu. I'm going to show you how to use it real quick. When you want to switch to a different brush, just flick one finger to one direction and you will have a different brush selected. The setting up process may seem tedious for some, but I think overall, it will really save you time down the road. 3. Inspirations and Colors: This is obviously an illustration class, but I will go on record to say that the dreaming part is the most important part of the class. Because, ultimately, the goal of this class is to afford you a little vacation for your mind while you cannot physically travel at the moment. Bring on your wildest travel dream and forget about any constraints that you may have in real life. Pretend to just hit the jackpot and your boss also happens to give you a paid vacation at the same time. How about that? Do you hear your mind churning? Good. Your list maybe shorter or longer. Either way, it's absolutely fine because these are just some ideas for you to get started. The list may shrink, or expand, or diverge to a completely different city as your draw, and that's completely fine. You can pause for a minute to think about your list. I'm going to Tokyo. Also if you want to tag along with me to Tokyo, rumor has it that there are still some free seats on board. I'm just going to spend a few minutes to write down what I really look forward to in Tokyo, if I were to travel. Now that you have your items written down, let's work out a color palette. I like to go to a website called Pexels, spelled as There are two great things about this place. One is that the quality is super high. Number 2 is that the creative license is super generous. Which means that if you're a beginner and if you just want to practice, you draw something as a reference verbatim, and you'll have permission to do that legally. These are the images that I end up with. I'm seeing a lot of reds and pinks, lots of different shades of blues, bit of yellow for accent, and different shades of green. At the end, I also like to throw in a worm and a cold black, which is basically a super dark blue and a super dark brown. Don't overthink the color palettes because this is a digital illustration, which means that you can always come back and change the color palettes if you want. Eventually, these are the colors that I will be working with for this project. If you're free to use my colors if you want, and you can come up with yours as well. Now we have everything we need to get started. We'll start sketching in the next lesson. 4. Sketching: In this lesson, we'll get sketching. Basically, we'll just pick up our pencil and lay down some of the motifs that we have come up with. We're going to get started by drawing a rectangle. It doesn't have to be super precise because we can use the quick shape, just hold on one finger. I'm going to tap the arrow icon to change the size. I don't have the magnetic turned on, so it doesn't constrain to a certain proportion. This look about right. Around 4/5 of the placement, I'm going to draw a line here. This is for the perforated line. Before you get on board, they tear off a small ticket for you that has all the information here just to keep things relatively real. In terms of information, I think it would be helpful to draw what's our departing airport and what is our arrival airport. Usually airport has their acronyms and I think that's three letters. Don't worry if things are off center, because you can just use the Lasso tool. Make sure you have the free hand selected. You can just move it back to the center. At the beginning of the class, I have worked on a list of things that I want to draw. In general, they can be floating around except the Mount Fuji. I'm thinking it's probably going to be somewhere like this. I'll just bear that in mind as I'm drawing. If your elements doesn't demand certain placement, I would recommend going with the easiest first because getting started sometimes can be the hardest part. I'm going to go ahead and create another layer. Maybe turn the color to bright red. I will draw my element on top. I'm thinking about drawing simple lantern and maybe have some Japanese on it. Nothing fancy. Just simple like that, if you can see over here. Sushi is very important to me. I would like to keep it somewhere in the middle. This is a piece of sashimi, maybe tuna, I'm thinking, with some rain so that you can tell it's a piece of sashimi. Like I said, the Mount Fuji is probably going to be somewhere at the bottom. This is a very rough placement, you can still move things around. Would be nice to have some sakura, some cherry blossom. I'm going to move my sushi out of the way, so my cherry blossom can bloom. Just going to do a very rough flower here. I'll deal with details later. Right now I'm just primarily thinking about placement. Some are fully booming, others are maybe still just budding. I'll seriously need to look at reference portfolio to make this look better. But in general, I like the direction of a blossom reaching down. Also mentioned kimono. I'm going to draw maybe something here. It's very likely the kimono might be cut off here, but I'll still draw the whole piece just in case I want to change the placement later. I don't end up with half a kimono. That would be awkward. I'm just focusing on the simplest bare geometric shape. Obviously things are not completely to its proportion because with the Mount Fuji at the bottom, everything will look puny if I go for a proportion. Maybe something like this. I'll fill up this space with some sandal. It's not technically on my list, but it just seems fitting. Japanese sandal. Something like that. I may have some opportunity here to bring in some other element, I'll just keep that in mind. This sushi seems to be floating in the air and that's awkward. Maybe I will use chopsticks to anchor it, so it looks like it's a piece of food you can relate. Maybe I'll change the size. Also resize it to a smaller piece. Click on "Selection". Make sure you have the sapping turned on so that it restrains to its proportion. Maybe I will go ahead and draw umbrella here. Let me just zoom in a little. The umbrella and the lantern fights with each other because they're getting too close. We will need a solution sooner or later. I'm just going to lay down the structure of the umbrella first and see what we can do. I really like this pencil because when you tilted to the side, it seems like there's some shading effect. It took me days to figure this out. Now I just love to use it on everything. I'm going to keep on working. Over here I think, just to make things clear, I will leave a tiny space here to write down the word boarding pass. I don't know we've actual boarding pass. Well, it must say boarding pass somewhere, otherwise, how would you know what it is? Well, it's been too long since I traveled. Boarding pass. What else? If we turn the opacity of the second layer down, that will help us figure out the placement of things. It seems like we have two blank space over here, we can fill in with something. I have a solution for this guy. Just kidding. Let me turn this back on. Remember we have dropped the lines for this small ticket. What if we just treat it as a cut-off line for the lantern? Then the lantern and the umbrella won't be fighting against each other. Let me just erase it. In that way, we have both the lantern and the umbrella. I think this will work out. Perfect. Turn the opacity back off. A quick way to do that is to double finger tap on your layer and then one finger scrub on your canvas to either direction to change the opacity level. Let's go back to the right layer and we keep on working. In my reference image, I also have the traditional Japanese gate. I think this is a good place to anchor that gate. Not necessarily it's on the Mount Fuji, but just as an element. I think it's helpful. It's very symbolic. This is when the mood board comes handy because you can reference to your image. In here would be a good place to put my kites. What they're called like wind socks or wind spinner. I think they're gorgeous just from the graphic standpoint. I don't really care about where the wind blows. But they're so beautiful. Again, I'm just doing very rough shape over here. Nothing finished. You have the freedom to really sketch. Seems like we might have an opportunity here between the flower and the gate to add in something. My husband suggested earlier to add the Japanese crane, so I'm going to take his advice and add a little crane bird here. You know the origami? I actually don't remember how it looks like. Roughly, it looks like that since this is just a sketch. I'm just going to rough it in and figure it out later. Look pretty good. Here's my sketch. The Mount Fuji seems a little too bear. I don't know. Something about it would be awkward just to have a huge mountain with just two colors, there's snow and then there's bluish, the rock color. You know what? During the research phase, I've also discovered the beautiful Japanese pattern. I think I'm going to stylize the mountain here, just to make things a little more interesting. The famous painting wave. I hope that's what it's called. Something like this. Just going to go all around like a fish scale. I will also vary the wave a little bit so they look more hand-drawn. I like this quality. A lot of traditional, beautiful artists and crafts in Japan are handmade, so I want to preserve the hand-drawn quality in this boarding pass to just make things more interesting. This is a good time for a break. You have worked hard, get yourself a nice treat or something, and come back for it in the next lesson. 5. Inking Simple Elements: Previously, we have worked on a sketch. In this lesson, I'm going to go into each object and start drawing for reals. I'm going to go with something that is the easiest for me, which is the lantern, first, because it's basically just geometric shapes. I know previously we have cut it in half, but in the drawing part, I'm going to draw the whole thing, just in case that, if I want to place it somewhere else, I don't have to redraw it because I only have half of it. Later we'll use the mask to show only half of it, even though we have the whole thing preserved. That being said, I'm going to turn down the opacity again, so that you can barely see it. The lantern, according to the reference image, is red. So I won't have to change the color, but I will need to choose a different brush. I'm going to go with my liner. Let me test it. Good. I'm just going to go ahead and draw a rough shape of the lantern. This seems to be a bit of wobbly for me, so I'm going to go to my brush, click on it, and then turn up the StreamLine. Basically will help me to make my curves more smooth. You can also rotate it so it's at a comfortable angle. I'll drop it. Then I'm going to create a layer underneath for the top and the bottom, using a warmer black that I've chosen in the beginning. Just go ahead and draw top. Color drop it. Same thing for the bottom. Draw a line. Seems like it's hanging from somewhere. It's not floating. The next time I'm going to draw the wire structure inside. Basically they're just a bunch of parallel lines, more or less. But I'm going to use a clipping mask. Here's why. If I were to just create a regular layer, and draw on top of it, as you can see, if I'm drawing outside of the shape, it's going to show. However, if I turn it into a clipping mask, it will only show the overlapping part, which is really neat, because I don't have to be super precise. I'm just going to clear this layer by three finger wipe down. That's my shortcut. In that way, I still have the clipping mask I just setup. I now can just go ahead and select my original color, which is white. Maybe a tiny bit bigger, perfect. It's kind of tilted down, and that's not cool. To avoid that, I'm just going to draw a line in the middle here, to help me to guide, maybe three-quarters and one-quarter here so my lines are in place. For the clipping mask, you can also change the opacity and the color later. It's really convenient. There we go. I'm going to make it a tiny bit lighter. Like that. I'll just leave it like that. Actually, in my reference photo, it has the word ramen on it. I'm going to attempt to write it in Japanese. I had my husband spellcheck it for me, so I'm fairly confident. Let's create a new layer. You see the bushy tail of the stray cat brush. I just love the texture. It's a little bit too big. No worries. We can resize it and put it back. Perfect. Now we have our lantern. Isn't it awesome to start with the simplest, so you don't worry about it later? I'm going to go ahead and group all my lantern layers into one. If you are fancy, you can rename it, but I'm not. I'll just leave it that way. For the next one, I'm going to go with the red theme and work on the sushi. Again, I'm going to create a new layer, and then go back to my liner pencil. Actually liner ink. This one is inky. It's a little bit too thick. There we go. Delicious piece of sashimi. If you want more texture, you can go ahead and just color it this way. Because in this way you will have tiny little gaps that just looks like you hand-colored everything. That's not the look I'm looking for, for this particular piece. I will use the color drop for now, and create a new layer for the grain. It's not entirely stark white. This is more like creamy color. Again, I'll turn this into a clipping mask here. If you look at a real piece of sashimi, it's 3D. I'm going to convey that in this part. I will actually go with a darker red. I'm going to manually turn it a bit darker, by increasing the darkness. Let's see. One more time. Perfect. Look at that. This will give it a three-dimension look. My sushi doesn't look like a piece of cutout from somewhere. Then another clipping mask for the grain. Not white. Go back to my palette and click on "Cream". Switch back to my ink brush. In this way, I'm going to just draw the grain to convey the 3D-ness of my sushi. This gets me real hungry. They're not strict parallel. Feel free to vary the space between each line. Of course, if you're drawing sushi. Just some fun things to consider. Simple as that. I might change the blending mode a little bit to make it more subtle. Maybe too subtle. I'll go with the hard light. Perfect. Then I'm going go ahead and create a pair of chopsticks. I'm going to go with the warm black that I've chosen before. Make sure my inking brush is selected. I'm just going to go ahead and draw a very long rectangle. This does not look like a chopstick, so I'm going to click on "Edit Shape" and "Polyline", to give me back that shape that I drew, and make one side slightly taller than the other. I then just color drop it. Right now I have the proportion constraint. I'm going to go back to freeform, so that I can change the proportion a little bit, maybe make it a little longer. That's chopstick 1, and just duplicate that layer and move it up. Maybe tilt it a little bit, too. I'm going to turn off the snapping and the magnetics, so that I can do the fine tune rotation. Perfect. Now I have both layers selected, I will turn this chopstick around and make it pick up the sushi. They can't be both on top of this sushi, so I'm going to move one under. Let's see. I'm going to move the second one under. There you go. Still look like flat over here because we don't have shadow, but I'm going to work on that later. I'm just going to select all the sushi and chopsticks layer and group them. Perfect. In this way, if at some point I want to move it to a different spot, I can do that. I can also use masks to just hide parts of the image later, once I'm done with the placement. It's called non-destructive drawing or editing. There you go. Let's move on to the next one. I'm going to work on the Mount Fuji next, because it's really big, and it's going to affect the rest of the placement. I'm just going to go with this blue, and make sure my liner is selected, and turn the diameter and make it a little bit thicker. I'm not going for super realism over here. I'm going to use pink for now, and then switch it to white later. I will use clipping mask and light pink. I'll just draw some waves, make sure I close it. If I were just to look at this layer, it's enclosed. In this way, I can color drop it. Perfect. This represent the snow on top of the mountain. This seems like a good stopping point. Let's stretch real quick, get a beverage, and come back to work in the next lesson. 6. Inking Advanced Elements: In this lesson, we'll continue on with our journey to Japan. I'm thinking maybe it's time to give it a background color. In that way, we can work in real color. I'm just going to draw the frame of the ticket on top. I'll go with a darker color. I mean, I'm picturing this ticket to have this dark green vibe, like Japanese garden. Then with one finger tap on your screen to resize it, you can edit shape. In here is perfect rectangle, so I'm just going to go with that. You see the corner, this happens when you do quick shape sometimes. The corner is not completely closed, so I'm going to manually close it so that I can color drop it. I know a real ticket has rounded corners. There's no efficient way to do that. I'm going to teach you a trick, which is using a layer mask. Go ahead and tap on your thumbnail and click on "Mask" here. The color dot will turn to black, black heights. If you were to draw anything, you were appear to be that you have erased these, but it's not destructive, which means that if you were to turn the visibility off for the mask, you still have the original layer. We're going to use this trick for our rounded corner in our perforation. Undo it, make sure our mask is clean, and then make sure the mask is selected, and we're going to just erase off the corners. Make sure you rotate your canvas so you're working at a comfortable angle. Sometimes I get stuck at one angle that is really weird and awkward, and later I get wrist pain. It's not worth it. Just go ahead and turn your canvas and make it work for you. There you go. A quick pinch will let your canvas fit to your screen. I'm going to turn down the opacity a tiny bit so I can find my original perforation line. It is around here. Yeah, more or less. I'll make this a tiny bit smaller. Then select the layer mask. I'm going to erase off this line here. I will also turn off the lantern so I can see the line better. Go ahead and select the layer and make sure the color dot shows black, and just go ahead and erase off. This is not the liner. There you go. In this way later, if you want this line to move to a different spot, you don't have to redraw the whole ticket because you can just delete the mask layer, and then you will have your original rectangle. I'm going to restore the full opacity, and then move this layer all the way down. Now we have the background color worked out, I'm going to change the mountain back to white to restore the snow color, perfect, and maybe make the mountain slightly larger. There seems to be a little puny, and then perfect. Now I need to make my sketch a little bit more obvious. Even though right now it's sitting on top of the ticket color, but because they're both dark, it is hard to see, so I will change the blending mode to something lighter. There you go. This is a much better, like gives me better contrast. I'm going to work on maybe the umbrella next. I'm going to go ahead and choose a yellow umbrella. We have some reds, some darks, some blues, we need some yellows. I know that we still have some work to do for the mountain, but right now I just need to know the placement, the size, and the scale, and we'll work on the detail later. If you are the type that you want to pick something and to work it until it's done before you move onto the next one, so be it. I'm going to make this a perfect circle by holding down one finger, and then just color drop it. This is a little bit tricky because I know that if I were just to, let me just turn off the lantern so it's not interfering for now. I know if I were to just freehand the structure of the metal, it's going to be wobbly and it's going to look weird, and the placement won't be very even. So in this case, I'm going to go to "Actions", "Canvas", and turn on the drawing guide, and you can edit the drawing guide. In this case, I'm going to choose "Symmetry", and "Options", and "Radial". In this way, whatever I'm drawing, it's going to be like exactly what the umbrella needs. I'm going to eyeball the center of my umbrella and just let go. I'm just going to start drawing and I'm using quick shape here. I can still move around to make sure it's not sticking too much. Sometime if you pay attention to the other parts without noticing the lens, you will get super long wires. That's not what we want. I'm happy with what it is now, and I would just let go and turn off the drawing guide. Now we have umbrella. You can see, it still have the assist turned on, on the layer, so I'm going to uncheck this drawing assist. We don't need the drawing guides anymore, so I'm just going to group this and move it to my original placement, which is about right here. Actually, you know what? It seems like the umbrella is fighting with the sushi and with the lantern over here. I'm going to do a simple trick. I'm just going to change the placement a little bit more so that they're not fighting with each other. Right here, I have the sushi group selected. I'm going to rotate it and make it somewhere here, and maybe a tiny bit, maybe make it here. It's not fighting against each other. Right now, it's on top of the fish, but, well, so be it. It's nice to have the flexibility to just think about it. The lantern, we only need half of it at this point. I'm just going to duplicate the group and hide one of them and make the visible one flat. Click on "Flatten", we will have one raster layer. Make sure we have it where it's needed. I don't want it to be caught dead half. It's hard to read the Japanese. Here seems to be a good placement. Again, I'm going to use the Layer Mask trick and then just erase off the extra part. This edge is a little bit too jagged. I'm actually going to use gel pen to give it a crisper edge. Maybe move it a little bit to this side. It seems like we lost a third of the lantern, but in reality, it's just hiding. See, it's nondestructive. I know I've said this a million times, but if you want to move it somewhere else, change your mind, you can still have the other half back. I also want to erase the top portion. Now let's solve our fish problem. Now our fish is blocked by the sushi. We need to think about the new placement. I'm thinking about somewhere here where the three fish can be floating like that. The sakura, the cherry blossom, can actually go on the umbrella. It becomes part of the pattern of the umbrella instead of lonely branch sticking down. In this way, it's a happy solution for everybody. I'm just going to give it a try. Before I do that, I would like to create a clipping mask for our bottom layer of the ticket so we can block out the boarding pass, the words of the boarding pass. I'm going to go with the yellow and draw a line. That's going to be the boarding pass where the word is going to go. Let's go back to our fish drawing. I will go with white. Eventually, the fish is going to be colored differently but for the drawing portion, I will go with the white. Make sure we have a new layer. We do, perfect. This seems to have a really big mouth opening and long body like that, and a cute little tail. Don't worry too much about them overlapping the sushi because we can just move it down. Okay, that's our three fish. I want to color the fish first. We haven't used a whole lot of the lighter shades that we have decided. I think this is a good chance to bring them onto the canvas just to throw it in the mix, and maybe this light blue. Let's see how this one goes. I will just use a new layer and turn it into a clipping mask for the scale of the fish. I'll go with the white color. It's pretty simple. Basically, you draw an eye and the gill and go ahead and draw the scale of it. At some point, you're going to draw the tail, but let me make it a little bit thinner. This part I think, is really therapeutic. You don't have to do a lot of thinking. You've just go ahead and stack pattern on top of each other. It'll be good to just pop some music or a TV show that you want to watch because this doesn't use a lot of your brainpower. It's just scale, and it's going to take a quite a few minutes. I'm going to stop there to draw the grain to indicate the tail. I wonder what kind of entertainment you guys like to do when you are drawing. I like to listen to music or watch Netflix at the corner of my screen. Sometimes when I record a class, it just seems like I've been talking to myself all the time but I know you are there. Whenever I see a review pops in, I get really excited because I know, "What, there is a real person who watched my class and liked it". I know you're real and you're watching, that makes me happy. If you want to just drop in on my Instagram just to say hi, you will make my day. Whoops, I also really love to see your work on Instagram or student gallery. That just makes me smile because I know that my little silly idea of a class, maybe not silly, sometime it is, can help someone learn something about some program. This small joy of being a teacher. At the end, we'll work on the shadow so that our objects are not looking flat. Right now, we're not attending to every single detail at this point. This here looks awkward, so I'm just going to draw another line to show it's a mouth. Then I will tie this to this imaginary pole over here on the left. I'm going to create a new layer for the little threads. There, I have our little fishies. 7. Adding Textures: You know how the traditional Japanese brush pen works. I'm going to use that. I will just use some simple stroke to draw the shape of the gate. Obviously, it's very stylized. That's okay. I'm going to choose the warmer black, aka the dark brown for the top. Like this. Whoops, I forgot to create a new layer. See, it's not flexible because when I want to change the position of the darker stroke, they're stuck together. Let's start over. I'm using less pressure so we can see the grain a lot better. I want to move this layer beneath the red one. Perfect. Then it's getting a little busy and I want to be able to write down the letters of the airport, so I'm just going to go with the white color. This time I'm going to select a brush that we didn't have before. Something that is pretty, like ink rolly type of thing under painting. This is original brush from Procreate. Make sure I have a brand new layer, which I do. I'm going to just make it super thick right now so that we know the general placement. Eventually, we're going to delete this layer, but right now, it's there to help me to keep everything level. Now, I'm going to turn the stroke to a much smaller size. I'm going to pretend I'm leaving from Brazil, which is Sao Paulo Airport, it's GRU. You can certainly use your text tool over here to type your word, but I like to preserve the hand lettering. It's not a full-on hand lettering, but I like the handwritten quality to it. Then my arrival airport is going to be in Tokyo, which is Haneda. I hope that's how you read it, HND. Now I'm deleting the big fluffy guide underneath. Our color's blending into one another. What I mean by that is that it's hard to read, but don't worry because we're going to just work on our shadow at the end and it will help everything to pop. I will also do a tiny little arrow here. We have a lot accomplished. This is really cool. Let's keep on going. What are we missing here? The kimono, of course. We haven't used this matte shade, pink yet, so I'm going to go with this color at least for sketching. We'll decide on the final color as we have the whole thing. This lanterns kind of in the way, so I'm going to turn it off for now. Then just keep drawing the kimono. I'll keep it relatively symmetrical, but I won't use this symmetry tool because it will make it look super rigid. Do another layer just for the sleeves so it gives me more flexibility to do the shadows later. I will do a different color of pink for the sleeves that's underneath. When I was researching, I saw so many beautiful kimonos. It just makes me want to sew my own set. Let me just fix this tiny little pixel here that's not filled. Perfect. These two pink doesn't seem to work with each other. That's okay. Sometimes that's what you discover as you start working. I'm going to swap the color to the lighter shade of pink and then work on the otaiko, which is the back portion of the kimono. To increase the contrast, I will use a dark shade of blue against the two different pink layers. Then just do gentle gold for the texture. I'm glazing really really lightly to mimic the dry brush of a Japanese brush here. This seems to be a little bit bare. Let me add a tiny shadow on top of the sleeves to give some dimension. Turn it into a clipping mask, and go with the pink color. I'm going to use multiply, so I will get a natural darker shade of pink. See, it's very very light, but you can tell it's the shadow there. Then I'm going to maybe draw some [inaudible] which is the cherry blossom. As I'm drawing, I just want to make sure my drawing has variations for different sizes and different placements so that it doesn't look super mechanical, if that makes any sense. If you were to duplicate any motifs, make sure you use a bit of rotation so it doesn't look like it's been copy and pasted to somewhere else. As I'm working on those flowers, I'll make sure these are all clipping masks so that I don't have to do any erasing. At the end of the process, I can merge all the flour layers and turn it into one big clipping mask. Now looking at our layers, I'm going to group all the kimono layers all together into one group. This might be the longest or the biggest group we have ever had so far. Hit Group, and then collapse it, and then duplicate this group. Hide the lower duplicate, and turn the top one into a flat image. We're going to drag this group all the way, this image all the way right above our background layer and turn it into a clipping mask. In that way, we don't have to deal with erasing. We can just reposition our kimono, and whatever that goes outside of the frame will automatically be hidden. Then we can turn our lantern back on. Seems to be working pretty well. Let's deal with this tiny sandal here. I'm going to create a new layer right above the kimono, and then choose a color that is sandal appropriate. I don't really have a wooden color here, so I'm going to go outside of my color scheme and just draw my wooden sandal. I'm just going to draw two cute sandal right next to the kimono. See how this color works with the rest. Typically, the Japanese sandals are wooden, so I will give it a wooden texture as well. I will create a clipping mask, and then I will pick up one of the wooden texture brush that I have and then just paint on that clipping mask. It's pretty real, I'll buy it. I will go back to my liner brush, just draw the strap here. Actually, I will use a creamy pencil to draw the straps. That's one of the fun things about illustration because when you draw a fashion item or accessory, you get to do a bit of fashion design. If you're drawing some interior design stuff, you get to do a bit of interior design. I really enjoy dabbing into other disciplines of design while I'm drawing. So there's that. This umbrella looks a bit of bare for me. I think I'm going to add some cherry blossom. Let's find our umbrella layer, which is here, and then create a one layer on top of that. I don't know. Instead of white or pink, I'm going to try this dark blue and see how that works. We can always change color. I'm just going to go ahead and start drawing. Actually, to make my job easier, I'm going to turn off the wire so that I can see it better. Great. Again, I'm going to duplicate this group and hide the bottom one and flatten the top one, and then turn this one into a clipping mask of the bottom ticket, like that, and then maybe move it away from the letters a little bit so it's not fighting for my attention. This is looking great. It seems like I have covered all the motifs that I want to cover, so I'm going to turn off my sketch so I have a cleaner look. What else shall we work on next? Mount Fuji, let's work on this. The snow looks a little bit too flat. I'm going to add one more clipping mask layer. Click on "Clipping Mask", and just to give it some very, very light strokes, I think I'm going to go with the dry gouache, maybe a bit thicker. I'm not going for realism here, as you probably can tell. Then I'm going hand draw all the texture like the wavy patterns that we have drawn before. That's the fun part. Make sure it has its own separate layer. I'm really curious what destinations you guys have chosen. I have a long, long list of things that I want to do in Japan, and I also have a long list of places that I want to go other than Japan. Maybe I will make more tickets after the class is done. I think it's actually easier if I just draw the bigger shape first before I fill it in. It's been a long time since I traveled, so I really crave seeing a different culture and trying different food and just hop on a plane and start going, simple like that. I guess it's not simple after all, not having something makes us appreciate many things that we have taken for granted before, so I guess it is a blessing in disguise. If you decided to go through the steps to draw your own ticket, I really love to see. I've asked my friends on Instagram about where they want to travel and I get all kinds of answers. I think having that sense of anticipation of future helps us to cope the difficult situation we're facing right now. I personally benefit a lot from drawing the ticket. So this class is not strictly for the students, it's for me as well. At the time of recording, it's winter here where I live. It's super cold, and we're covered in snow, so being able to dream a little really helps. Another thing I would really love to hear back from you is the filming format. Do you like to see screencast only or overhead or at an angle, like what I showed at the beginning of the class? Personally, I see the benefit in all formats, but I don't know which one is the best for you guys. So if you could let me know, that will be awesome. I'm going to duplicate my Fuji Mountain and hide the duplicate and flatten the top one. Drag this guy all the way down and make it a clipping mask. If you just sandwiched the Fuji Mountain between the previous clipping masks, Procreate will automatically read it as a clipping mask, so you don't have to tap on buttons to set it. I think I'm going to add a bit of snow to the scene because the background looks a little bit bare. Create a new layer, and I'm going to use texture brush. Where is it? Here. Then just lightly tap. Well, this is a little bit too big. Just lightly tap, and then maybe turn the opacity down a little bit, so it's pretty subtle. Then I want to create a layer on top of that, I guess, for all the shadows. This time I'm going to use really, really dark blue and dry gouache as brush for my shadows. Since our letters are sitting on top of the very diverse background in terms of color, it's hard to pick a single color that works against well with every other color. I'm going to play with the blending mode a little bit to see which one accentuates the letters really well. You see what the shadow strokes do? They just lift the letters off the page so they're not super flat. Again, you'll think of the same light source as you are drawing this. This is weird if you do have a different direction. I still want to play with the blending mode. I like this better, actually. I did forget the little, tiny arrow that we added, so I'm going to bring it back in. Perfect. Looking at it, I'm going to change the color of the flower on my umbrella. Since we have used the nondestructive method as we were constructing the page, it's easy to fix the color. All I need to do is to delete this flat layer and then go back to my original layered group and then just swap out the color and create a duplicate of that group and flatten that group and then tuck it back in on the stacks of clipping masks at the bottom. 8. Final thoughts: Hey guys. Look at this, we did it. I'm so proud of you and so thankful that you stuck around until the end. If you're still watching this, I have a very fun, live, illustrated boarding pass opportunity with Skillshare coming up. We're going to do a live session for a different city. If you go to, you will be able to find my live session. You can click on the "Remind me" button to register. If you can make it, I would love to see you there.