Transcripts
1. Welcome to the Class!: Hi, I'm illustrator and photographer Tracey Capone, and welcome to my class Digital Paper Collage in Procreate: Embracing the Perfectly Imperfect. I'm so happy to have you join me. In this class, we're going to celebrate the imperfections of paper collage and use Procreate to create irregular shapes, add beautiful color and fun textures to create unique, expressive vegetable illustrations. I'm going to show you my step-by-step process, how I use Procreate to cut out my shapes, and how I add unexpected colors and textures to add depth and dimension into my illustrations. For this class, you're going to need an iPad and the Procreate app. I'm going to use my Apple Pencil, but you can use any stylus or your finger. When you take this class, you'll receive a full set of texture brushes, color palettes, and a set of high-resolution textured digital papers that I've created specifically for this class, so you can get started right away in creating your own beautiful collage illustrations. At the end of the class, you'll have a set of your own vegetable illustrations that can be used in surface patterns, on stationary printing demand, and more. You may just have a few tricks to add to your creative arsenal for future work. Now, why digital paper collage and what's this perfectly imperfect all about? Find out in the next video.
2. Why Paper Collage?: One of the things that I hear a lot from new artists is I'm struggling to find my voice or a can't find my style and we've all been there. But these are things that you're not going to find so much as develop and they're in there, you just need to coax them out. Classes like mine and others are important for foundations. You need to understand how an app works or how a particular medium behaves. Foundations are a key starting point. After all, it's what houses are built on, but it's what's built beyond the foundation of the house that begins to set each one apart from the other and it's no different with art. The difference is where there are rules and regulations with houses, there are no rules with art. Because if there was a guidebook that say that you have to get from point A to point B in a particular manner, Modernism, Postmodernism, Impressionism, none of these eras would have existed because people wouldn't have wanted to break the rules. It's what you do with the foundations that you learned and how you roll with them afterwards, that's going to begin setting you apart from other artists. It comes with time and creation and making marks, and just as importantly, making mistakes and not allowing those mistakes to frustrate you, but rather embrace them as perfect imperfections and learning tools. Because a couple of things can come from doing that. If you continue to push through and even enjoy creating despite what you see see as mistakes, you're more likely to figure out the right way to do things. But again, who determines what's right? What if you like the mistakes that you made and you want to incorporate them in your work moving forward, you're that much closer to developing your own voice and your own style. When you just relax and create for the sheer sake of creating rather than trying to create something perfect, you're going to find fun new ways to approach your work. Now why paper collage? I chose it because by nature, paper collage is perfectly imperfect. Unless you're some sort of glue or scissor ninja, which none of us are. You're going to end up with wonky shapes and glue in places that you never expected. But at the end, you're going to have something beautiful. We're going to skip the messy part by going digital, but we're still going to embrace those irregular shapes and textures. At the end of it, we'll walk away with a collection of beautiful vegetable illustrations and hopefully some fun new ways to approach our own work. I can't wait to see what you create, so let's get started.
3. Downloads and Resources : In this section, we're going to take a look at the downloads for the class. Now I want to mention you're going to need to access these in a browser, whether it's on your iPad or a desktop, you won't be able to access them through the Skillshare app. Once you're in a browser, go to the projects and resources section of the class and click on the downloads link here at the top. It's going to ask you for a password and I'll go ahead and put that up on the screen now. Once you're in the downloads page, you'll see it's broken down into links to the brush set, the color palettes, as well as the digital collage papers that I created for the class, and we'll get back to those in a moment. I've also included links to additional resources for the class, including a paper collage inspiration board that I created on Pinterest, as well as links to Unsplash, Pixabay and Flickr Commons, and I have specifically used the search term vegetable. If you've never used any of these sites, you can find a number of reference images on all sorts of topics, not just vegetables, and we're going to be using some of these in the class. Let's go ahead and take a look at how you can import the brush set into Procreate. You'll just go ahead and tap on the link here and it's going to automatically download it. Now if you have the Dropbox app on your iPad, it's going to download it there, if not, it's going to send it to the downloads file on your iPad. If you get this screen, simply tap on the three dots here or at the top right corner. Click on "Export" and then find the procreate icon here in this screen. Once you click it, it's going to go ahead and import it directly into Procreate, and you'll find it in your brush studio. You're going to follow the same process for the three color palettes as well. Once you import them into procreate, you'll find them in the color studio. Now if it sends it to your downloads file on your ipad, simply locate the four files, click on them and it will automatically import them. This last link is to the digital collage papers that I created for the class. There are very large files. I purposely created them at high resolutions so there was no issues with pixelation. Because there are so many of them and they are high resolution. I recommend keeping them off of your iPad and only pulling in the ones that you need for your illustration. That way you don't bog down your iPad. I would recommend saving this to a Cloud file, whether it's iCloud, Dropbox or another cloud application, and I'll show you my process when we get into the illustration section of the class. In the next section, we're going to go ahead and take a look at how you can create custom color palettes using some of the reference photos that you can find on these sites, so I'll see you there.
4. Creating a Custom Color Palette: In this section, we're going to take a look at the color palettes, and I'll show you how you can use the color palettes I provided as part of the class. I'll also show you how you can create your own custom color palettes from reference images that you pull from pics today, on Splash, or other free use sites. So let's get started. As part of the download section, I showed you how to import these three color palettes that I created specifically for the class. You're welcome to use those along with me in the class, or you can create your own custom palette. Now, once you've imported these, you can set any one of them as a default simply by clicking on "Set Default", and then you'll find the color palette here in the disk. Then all of the palettes here, of course, are in the palette section here in the color studio. Now, what if you wanted to create your own custom color palette from a reference image that you find? You would simply tap on the plus sign here. The first option here is going to give you a blank palette so you can add any colors that you'd like. This next selection here is going to create a palette from a photograph that you take with your iPad. The next you are going to create a color palette from a reference image that you pull either from your files or your photos. I'm going to go ahead and click on "File", and I'm going to select this photograph of peas here. When I tap on it, it's automatically going to analyze this photograph and create a palette from that photograph. It's just that easy. You can also sample colors from the reference panel here. So if I turn on the reference guide, let's say I go ahead and just use this image I have here. If you watch the color swatch here, when I go ahead and sample colors, it's automatically going to change it to whatever color I select here with the color picker. So this gives you the option of doing that without having to create an entire color palette. You can simply pull in a reference image, sample a color, and it's automatically going to show here. If you wanted to, you could go ahead and create an MD palette that you can save that color too for future use. So that's how you're going to use the color palettes. In the next section, we're going to get started creating our vegetable illustrations, beginning with the eggplant and the turnip. So I'll see you there.
5. Setting Up Your Canvas : In this section I'm going to show you how you can set up your canvas so we can begin creating our illustrations. Now I have a canvas setup here that I'm going to use but when you want to set up a canvas just tap on the plus sign, if you don't already have one set up here just tap the plus sign up here at the top right. Now there's a couple of things that I want to note. The first is that when you're creating illustrations like these you need to make sure that if you plan to print them, that you create your original document to the largest size that you plan to print, that way you don't run into any sort of pixelation or muddiness of textures, and in this particular case, we are going to be adding a lot of textures to our illustrations. The other thing that you want to keep in mind is that the larger your document, though smaller the number of layers that you have in procreate, that's just how procreate works and some of it is based on the iPad that you're using as well. So in other words, if I select an eight by ten document at 300 DPI, which is the lowest number that you want to use for print, It's going to give me a maximum layer of 70. If I change this to 11 by 14, its going to drop the maximum layers to 34, so just keep that in mind when you're setting your original document. The illustrations that we're going to create here, we're going to avoid using too many layers but it's something to keep in mind if you plan to create one with a lot of different texture layers on it. So I'm not going to create a document here because again I already have one set up but when you're ready to create it just tap create and it's automatically going to create your canvas for you. I'm going to go ahead and go back to this canvas that I've created. Now this is an eight by 10 canvas at 300 DP and I've automatically changed the background on mine, I don't like working on the white background so I typically change mine. You can work on the white background or you can just go into your layers and tap on background color and select whatever background color you like. Now one other thing that I've already done here is I've created a group of several of the digital papers that we're going to use to create the eggplant and the turnip in the next video. I typically group them together, turn all of the layers off except for that top group layer and that way I can just turn them on as needed. As I mentioned in the download section, these are really large image files because I created them at a very high resolution, so in order not to tax my iPad and also not take up valuable layer space in procreate, I only pull in those that I'm going to need for the illustration I'm creating at the time and then I delete them as soon as I'm done using them. I'm going to go ahead and show you how you can create your own group of digital texture papers. Okay, once you're ready to pull in your digital papers, just go to the action panel up here and tap on insert a file, find the folder where you saved it whether again it's on your iPad or a Cloud file. In my case I always keep mine in a Cloud file and I'm just going to go ahead through here and select the ones that I want to use, so I'll go ahead and pull this blue one in here. Again I like to keep them in groups just so that I can keep them together, I turn off all of these layers except for that top group layer. That way I only need to turn on the ones I'm going to use at the time and it just keeps my canvas from getting too chaotic. That's how you can set up your canvas, in the next section we're going to begin creating our vegetable illustrations, starting with the eggplant and the turnip so I'll see you there.
6. Eggplant Illustration : We are going to get started with the eggplant, and this is probably the easiest of all the shapes we're going to create. But it'll get us used to using the Selection tool to cut out the shapes, as well as get us used to putting everything together. I've already pulled up a reference image here, and I did that by going up to the Actions panel here and turning on Reference. When you do that you can import an image from your camera roll, so I have this eggplant photo pulled up. Of course, there's a number of varieties of egg plants out there, you have your traditional one and then your Japanese, etc. I'm going to focus on a mix of these two. You can create yours however you'd like. You can follow along with me or go crazy with it and create whatever colors you'd like. But in general, what all of the eggplants have is this narrow top and bulbous bottom here, and then of course the little green cap at the top where they connect to the rest of the plant. I am going to use all of those in my illustration. Now, again, I'm just using this reference photo as a quick glance, I'm going to go ahead and turn it off. You can always turn it back on when you want to. I just wanted it to get an idea of the size, the general shape, and some of the textures. I'm going to go over to my Layers panel here, and I'm going to turn on my darkest color here which is, I think I labeled it eggplant if you want to follow along and use the same ones. I'm going to go ahead and change my interphase real quick just so that you can see this better. We have the dark purple up, I want to create the base of the eggplant first. So the first thing I'm going to do is make sure that that layer is selected. I'll go ahead and grab my selection tool. I have it set on free hand so that I can draw whatever I like, and I'm just going to go ahead and draw out my shape of my eggplant and I'm not going to worry too much. I didn't worry too much but I don't actually like this, so I'm going to start over again. I told you in the beginning that I would keep mistakes and corrections in. I gave it the little narrow top and the more rounded bottom. I'm going to go ahead and hit Copy and Paste, and because I had that layer selected, cut it or copied it from that, and then paste it into its own layer, and drag that up, turn that off, and then turn off my selection tool. I'm going to go ahead and change the interface back again. Now, there's little spots here that I'd probably correct if I thought they were going to be seen, for example, where I cut it left this little mark. I'm actually going to have a green cap on that though, so I'm not going to worry about it. Anywhere else I'm going to leave as is because by nature the vegetable itself is going to be lumpy and bumpy in spots. I'm going to leave it otherwise. I am going to make it a little bit smaller so I have more room to work. I'm just going to turn on my Transform tool there and move it over. Now I'm going to use this shape as my guide to create the little green cap at the top, so I'm going to leave this on, go up to my Layer panel, and I'm going to get bright about it, I'm going to use this brighter green color. Again, I'm selecting that layer so that I can copy from it, grabbing my selection tool, and I'm just drawing out my little green cap here. I'm not overthinking the shape, I'm just using the bottom layer as a guide. Then draw out the stem, close it off, copy and paste, and I'll go ahead and turn that layer off, and my selection tool. I'm going to drag this up above the bottom one, and now it's perfectly set where it should be and I don't need to move it around. Again, we're going to cut in certain ways so that we can use the previous shape as the guide for the next one. I want to add more to this one and I think I'm actually going to use this golden beet color just to add a little bit of yellow to the cap here. Once again, I'm going to go ahead and keep both of these on. I'm going to turn this layer on and select it. I'll grab my selection tool and I'm just going to cut out just some additional shapes here. I'm not going to do anything specific, I just want to give some highlights and maybe put something up here in the stem. Now because I have Add selected, I can do multiple selections that are not contiguous, and it's going to pick up all of them. I think I'm going to stick with three, I'll do copy and paste. Again, because I had that layer selected, it pulled it from that. I'm going to pull this one up, and let's make it a little smaller. Now, that's a little too obvious, I want to knock that back a little bit. So what I want to do is I'm going to use one of my textured brushes as an eraser, and I'm just going to tap on this layer just to knock back the perfect cut of this. So what that's ultimately going to mimic is if I took a sponge and took some paint and just tapped on the paper I was laying down. We're going to have that layer selected, I'm going to go up to my erasers and I'm going to select this stucco brush, and make it relatively small, I have it about 16. I'm just going to tap away some of the edges, maybe make it a little bit smaller, so that it's still there but it doesn't look quite so perfect. Again, this it's mimicking as if I painted the same color I used, if it was just tapping this color on top, just to blend it in a little bit. I could also use my Blend Modes and Opacity on the layer itself, which I think I will do, make it smaller. Again, I'm not trying to erase the whole thing I'm just trying to knock back the edges a little bit. I like how that added a highlight of color, but it's not so cut and straight, and I'm going to try changing the Blend Modes a little bit and just see if there's anything else I like besides normal. Sometimes lighter color has a nice effect, it's allowing the color underneath to come through. I also like overlay. I think I'm actually going to go with Hard Light, just knock the Opacity back a little bit. We're just giving it a touch of color and adding some little highlights there. I want to do a little bit more to this first. I'm going to go ahead and I'm want to tap on that layer. Actually, the first thing I'm going to do is pinch these two together, I don't need to make any additional changes to it. So I'm combining the two layers so I'm not taking up layer space. When I mentioned when we were setting up the canvas, you are only given so many, so I try to combine where I can and where I know I'm not going to need to make a change. That way I don't use up too many layers. I'm going to go ahead and add another layer here and make a clipping mask. I'll tap on the layer, hit Clipping Mask. I'm going to grab one of my textured brushes here. I'm going to get this Tattered Gouache Heavy. I want to add, let me grab the right palette first. This would be the eggplant palette, but I'm probably going to pull from one of the other ones. I want to give it a little bit more color, and I'm thinking I'm going to go into the beet one here and just grab this turquoise-y green color, field green and maybe make it a little bit more so. Then just hit the sides here, so I'm just adding some color that you wouldn't necessarily see on a real life eggplant but I'm okay with that, because I want to just have fun with it, and just play around with it. Because this is on its own layer, again I can go ahead and do the blend mode, to drop it back just a bit. I'm going to go ahead and do that, I'm going to see if I like any of the other blend modes here. Sometimes I do this and I end up not liking it all and get rid of it and that's the great thing about using blend modes, I'm sorry, using separate layers is you have that opportunity to just step back and remove it. I'm going to go with a darker color and just drop it back again. I'm just looking for a little hint of color. I don't want to go too crazy with that. I'm going to leave that alone for now. I may end up making some changes to it, but I might not. I want to focus on the eggplant itself. I'm going to go ahead and add a layer, do a clipping mask. The first thing I want to do is I want to give it the little nicks that you see in an egg plant, you'll see those like whether it's the dark purple one, you'll see them very faintly or for example this lighter one, you're seeing them more, they're more obvious. I'm going to go ahead and add some of those to mine. Let me turn this off. I'm going to go up here and the brush is actually called Little Nicks. I want to grab one of these lighter purple colors and see if I like that. If I don't, I'm going to pick one of these beige colors, but let's go ahead and start with one of the lighter colors. You can pick whichever color you'd like. I'm just going to start swiping down. This pressure is pressure sensitive so if you push down too hard, you're going to get really heavy marks. I'm not looking to get anything too heavy. I just want again, little spots here and there. I'm actually going to blend this in. That one's a little too heavy. All right, so I'm going to use a blend mode here and just see if I like anything else. A lot of the time I end up staying on normal and just dropping the opacity. I like Color Dodge. I actually am going to stick with Color Dodge and just leave it at the opacity that it's at. It's still keeping that light purple, but it's actually blending in a little bit more. We've got our Little Nicks on there. I'm going to grab another layer. I want to go back to my Tattered Gouache. I'm going to grab this sandy brown color. I just want to try something here. I want to give it a little bit of a colorful highlight up here at the top. I'm just tapping it. I'm not tapping hard. I'm just tapping around this spot here and it's a brush that will build up on itself. I'm just seeing how I like this. All right, let me go ahead and change the blend mode on that. I'm going to try, I already know that, oh, wait a minute, I like Difference there. I like how Difference looks. It makes it almost a greenish color and it really blends it in. Let me try just a couple others and just see, Add and Screen are fun. I think I might go ahead and stick with Difference there. I'm going to keep the opacity where it's at. I'm just giving a little bit of a colorful highlight. One more thing I want to do is I'm going to go ahead and grab another clipping mask. If you select the layer, if there's already clipping masks above that layer, it's automatically going to add a clipping mask to the layer that you had. If you go to the top of where all the clipping masks are, then you can add another layer. I have already automatically added that layer. I'm going to go in here and grab my Grainy Speckles brush. I want to add a little something here at the bottom. I think I might actually stick with this color. Grab my brush and I'm just going to hit down here. I'm just adding a little bit of something at the bottom. I like that it's adding a little color. I might have gone a little too far with that though. Let's back that out. I'm just lightly hitting it. Again, it's going to build up on itself. Let's go ahead and try another blend mode. I'm going to try Difference again to just to see, I'm not liking that on this particular brush. I think I'm going to stick with Normal and just drop the opacity a little bit. All right, I want to give this a little color. I have color coming in here and obviously the green, but I want to actually do one more thing and just play with this. I'm going to do another clipping mask. I want to go back up here and I'm going to grab this Wood Chipper brush. I think I'm going to go into one of my other palettes here. I'm just going to try something, it's like you throw spaghetti to a wall to see if it's done. I like to just throw a bunch of things at stuff sometimes. It's probably part of the reason that my illustrations will take time to do, but you never know until you try it. I'm going to go ahead, I'm going to grab this green color again. I'm just going to hit the bottom here. I like just adding, it's playing into the color up here and it's playing off of the color beneath it. I might actually leave it on normal and just drop the opacity a little bit. I actually like how that looks. I might add a little bit to the top here just to do the same thing, but I'm going to make this a little bit darker. We'll see if that shows up in this one, it's so textured, I don't know that it's going to show up. It is. Again, this is just the Wood Chipper brush and I'm just playing into the bottom here and going opposite one under there. I like how this is looking, if you wanted to, you could also go ahead and grab the lighter color here and do one additional highlight somewhere. Just add another purple in and do a copy and paste. This is totally up to you. This whole thing is totally up to you as far as what you want to do. Again, it's just a matter of having fun with it. I'm going to go ahead and turn my selection tool off, turn off this layer and see if I like this. Not overly loving it, but let me go ahead and do the same thing I did with at the top. Just blending it in a little bit. No, I don't think that's working. I'm going to take that out but the whole point is you can use other papers to help add some of your highlights. If I hadn't done this, I would probably have used this and just cut something out up here, but I actually like how that brush looks up there and I like that it's non traditional. You're not necessarily going to see an eggplant with those colors. I'm going to go ahead and call this done. I like to group these together. What I typically do with this illustration is I'll go ahead and turn off my background as well as any other layers beneath it and I save it as a PNG. I can use it in patterns, I can use it in future illustrations, or if you see in the cover photos on each of these videos, I use them there. It just gives me some leeway. I just save it off as a PNG with no background, it's totally up to you what you want to do with yours. I'm going to go ahead and turn mine off, turn the background back on and then we're going to go ahead and create our turnip.
7. Turnip Illustration: We're ready to create our turnip. I've already pulled my reference photo in again by going up to the Actions panel up here and toggling on reference. Then I just imported this from my camera roll. Now I'm going to zoom in on this particular one. We're going to take a quick look at this for the shape, the general size, the colors, and a little bit of the texture. I'm noticing the top of the turnip is rather flat, so I'm going to play into that with mine. It's also really squat, so again, I want to play into that as well. Now I am noticing some of these have a dusky texture on the top and I want to use that, but maybe add some color with it. When you see them in the store, they have all of their leaves chopped off like this. I'm actually going to do a mix of leaves and those stalks. Then one final thing we're not seeing in this photo because they're actually chopped off, turnips tend to have those wavy bottoms the way that beets have, so I'm going to add that to mine. I'll turn my reference layer off here. I'm going to go ahead and turn on my latte cream color here, and we're going to start with the body. I'll select it, close my layers, and grab my Selection tool. Again, I'm just going to go ahead and start drawing out the shape. I'll just go ahead and play into that flatness and the squat body there. That's actually a little too flat. I'm going to do the top flat but I want to make the size more rounded. I'll go ahead and just do that wavy thing, and then come up and come around and close it off. I like how that looks. I'm going to go ahead and do copy and paste, and I'll drag this out of the group and turn off my layer and my selection tool. Now, I have this little spot at the top there I want to get rid of, because I'm going to be clipping the purple to the top. You'll be able to see that. I'm just going to go ahead and three finger swipe down, cut and get rid of that. I want to make this a little bit smaller, just so I have room for the leaves at the top. I'll go ahead and move this down. Zoom in, and I'm going to add my purple top now. I'll turn on the layer and select it. I'm going to use this as my guide, but I am going to clip this, so I'm not going to worry too much about being perfect about it. I just want to get pretty close to it. Sometimes actually on the inside. I'd rather be on the outside than the inside since I will be clipping it. I'm going to come down here and then maybe come up, do some little waves and peaks and stuff, and then come up and close it off. Copy and paste, and I'm going to drag it all the way up to the top because I want it above that cream colored one, turn off my selection and now I'll tangle over the sides, but I'm not going to clip it just yet, I'm going to add some texture and stuff to it, and then we'll clip it. I'm going to go ahead and add my leaves now. Now I said I was going to add a mix of the leaves and the chopped off stalks. I'm going to start with the leaves, and I'm going to use this dark green color. Grab my Selection tool. They have this, I keep using the term wavy, but that's what they are. They're wavy leaves. I'll go ahead and close that off, make this one in this direction here. They're a little taller, do a copy and paste, and I'll go ahead and drag this up underneath of the turnip layer. Turn off my selection tool, turn off that layer, and I like how that looks. I'm going to go ahead and add those stalks and I'm going to bring in a different color. Normally, they aren't yellow, but I'm actually going to play into some of that. The fun we're having just adding different colors and textures, and I'm going to make my stalks yellow. I'm going to make sure that layer is selected, grab my selection tool and I'm also going to play into the choppy nature of it. How do we really deliberate about my lines here? I'm going to go in different directions, different heights. I'll assume you one more short one there. Do a copy and paste. I'll turn off my Selection tool and turn off this layer. Then I'm going to drag this up above the green leaves. I like how that looks. We have all of our pieces in place. I think the only thing I'm want to do is I'm going to grab these two layers, and I want to make them a little bit bigger, because they should be standing out a little bit more against the leaves and the stalks there. I'm going to go ahead and turn that off, and maybe move it down just a little bit. I like how that looks. Let's go ahead and add some texture and maybe some additional colors. I'm going to start with these leaves. I want to add a clipping mask to the leaf layer. I'm going to a layer, change it to a clipping mask. I already have this greenish yellow color selected from the color palette. I want to grab my detail brush here, and I'm going to start drawing up some veins. I'm not being too careful about it. I actually just want it wavy and the thing about this brush is it's very textured, so it looks choppy while you're using it and I like that, because it gives it that organic feel to the other one. I'm not going to worry about it, not really showing up there at the end, I actually like that. One other thing I want to do to these two leaves, and I'm going to leave those veins with that color and that opacity. I'm going to go ahead and add another clipping mask. I want to grab this yellow color, and I'm going to go back into my brushes and grab one of my I think stucco brush. I'm going to tap some yellow into the sides and maybe up over here. Just to add a little color and dimension, I might actually add some of this teal color as well. I'm just playing into these pops of color here with this, so I'm just having fun with it. I don't think they look like this in real life and that's okay. I'm going to use this same teal color and I want to add a little bit of color to these stocks. Right now, they look a little too much like French fries, and I want to add a little something to them. I'll go ahead, and I'm going to use that same brush and I'm just going to make it a lot smaller, and just tap some color into that. Not a lot, I'm just looking for a little bit of variation. I might even grab this pink color. I'm going to call the leaves done. Let's go ahead and focus on the bottom part. I'm going to focus on the purple first, so I'm going to add a clipping mask to this. I'm going to grab this willow wisps brush. I want to grab an orange color. I'm going to play into that dusky that we saw. I'm grabbing a different palette, I'm grabbing another tomato palette. I just want to hit the sides here. I'm not liking how the orange looks. Let's go back with this yellow. I want to stick with some of the other colors we're using. So I'll grab that yellow again. I'm just going to hit the sides here with that willow wisp and make it smaller. Just the right side here, you can do yours whatever you like. I just want to give it a little color, maybe towards the top here. I'm not even going to change the blend mode on that, because I actually like how that's showing up. I'm going to grab another clipping mask here. I'm going to go up to the top here and grab the little mix brush that we used with the eggplant. I'm going to use that same color and just hit to give some of those little lumpy, bumpy lines. I'm going to go ahead and just pinch these together. This is one of the ways that we really in the end didn't need to use the clipping mask, I did it so that I can make sure it was looking right weary, so it wasn't hanging off while I was doing it. It's one of the ways that I don't need those layers to be separate anymore. I'm just pinching it, so I'm not wasting any layers. I'm going to go ahead and clip this now to the body. I want to grab this and add another layer mask. We're going to go ahead and use that same little mix brush and we're going to grab the yellow but we're going to bring it down a little bit. Again, just add some little bumps to the turnip body. They have the same feel as the carrots. Instead, we're actually going to use this same brush with the beet. I'm going to play with the Blend Mode on that, it's a little too harsh for me. I might even change the color of it. Let's check the opacity. I actually like it on linear burn and I'm just going to drop the opacity. It's a really colorful turnip, but I'm actually okay with it. I might disrupt the opacity on this a little bit. But I like how that looks, and I'm going to call that done. I just want to make sure all of my layers are grouped together. That is our turnip shape. In the next video, we're going to go ahead and create a colorful orange carrot. I'll see you there.
8. Carrot Illustration : We have broken up the oranges here and we're going to go ahead and start with the carrot. I've removed all of the purple digital papers and I've pulled in the carrot skin. I've also pulled this avocado color in, though I'm not sure if I'm going to use it. Then I've kept some of the others from my last illustration for the leaves and things like that. I've selected my carrot skin color here. I'm going to start with the body. Now, I'm not going to pull up a reference photo, at this point I've seen enough carrots, that I don't really need to. I'm going to ahead with what my memory of a carrot is and do my interpretation of it. I'm going to grab my selection tool on freehand. I like the texture right about here on this paper. I'm going to start there, and I'll just play into those lumpy bumpy parts of the carrot and come back up, and close it off. Copy and paste. I will just drag this out of the group, turn that off. I like how that looks, it's just enough bumpy. I'm going to make it a little smaller, so I have room for my leaves. Carrot fronts are made up of long stalks that have multiple stalks coming off of them. I'm not going to do that. I'm actually going to again, do my interpretation of it. I'm going to start with this dark color, and I'll grab my selection tool. I'm going to use three leaves in different directions. I'm going to go this way first, and I'm just going to do these little jagged movements, some random jagged movements, and then come down, go back up. You could also just do the stalks as if they were cut off, which you'll see sometimes in the market. I'm going to do one more going this direction. Again, I'm just doing the random jagged movements, trying to be careful not to cross over each other. Then I'll go ahead and do a copy and paste. Turn that off. I'm liking how that looks. I'll drag it out of the group and keep it under the carrot. One more thing I could do if I wanted to add a little more color, I'm going to go ahead and turn this golden beet color on. I'm going to do some stalks as if they were cut off, just make sure I had that selected. Similar to the turnip, I'm going to make really angular stalks here. It's like there were other leaves and they just got taken off. Copy and paste. I want to drag this between the carrot and the green leaves. I'll turn my selection tool off. I want to make this a little bit smaller. Because it stands out so much against the leaves, I don't want it to be too big. We have all of our components of the carrot. I'm going to go ahead and start adding some texture to the body first. We'll add a clipping mask. I want to go up here and grab the Little Nicks brush. I'm going to use this same yellow. I'm going to go ahead and select it, make sure I'm on my clipping mask. I'm going to do just little sweeps in from the side here. Similar to the turnip, and it's just giving us that lumpy, bumpy feel. I'm going to focus more on the bottom here. I'm trying not to congregate too much in one area. I'm also trying not to tamp down too hard because again, this brush is pressure-sensitive and I don't want a lot of big chunks like that. A few of them are fine. It's a little too bright. I'm going to try some other blend modes and I'm probably going to end up at Overlay or Hard Light. I'm going to go Hard Light, and just drop the opacity a little bit. Now I want to go ahead and add another clipping mask. I'm going to keep that same yellow, but I'm going to grab my Tattered Gouache. I just want to make a little bit of a yellow highlight that's got some texture to it coming down here. If you've ever studied and unpeeled a carrot, it has a weird elephant skin feel to it. I'm not seeing too much in one area, I'm spreading it out, making some areas a little whiter than others. I'm going to go ahead and change that blend mode again and see that's Hard Light. I think I'll stick with Hard Light again, just drop the capacity slightly. I'm just looking for a highlight there, I'm not looking for anything too much. Now, I could also add another one. I think I'm going to grab this brownish color. Carrots also tend to have this little dusky feel to them. I'm going to hit with the wood chipper brush with this brown on the one side. Actually, I'm going to go both sides. That's a little too much. That's just adding to that root vegetable feel because they don't always look perfect. They have some browns and stuff. I'm going to drop this just a slight bit. I like my carrot body. I'm going to go ahead and hit these leaves a little bit. I'll grab a clipping mask. I'm going to use that Stucco brush that I've used previously. I'm going to grab a yellow again. I'm going to tap the sides to add some yellow, make this a little bit bigger. I'm playing into the yellow here and in then the carrot body and just adding a little bit more texture to this. I should drop my size just a little bit. I'm not taking over the entire leaf with this, I'm just hitting spots, and if I get a little bit too heavy, I'll just back out. I'm going to go ahead and change the opacity on that, it's a little too much, and I want to change the blend mode. I actually like Overlay because it's more of an orangey color, so I'm going to stick with that, and I'm going to keep the opacity the same. I'm going to add another clipping mask. I'm going to grab this teal green again. I want to see what that looks like. I have another clipping mask. I'm just pulling in a color that's complementary to some of this yellow. Again, just adding a little bit more unexpected color to my leaves, because who says I can't? I like to just hit the sides here. I like how that plays off with the orange. Again, just have fun with it, add colors where you want, go crazy, use red on it if you want. The whole point is just have fun with what you're doing and not taking it so literal. I like Exclusion, it's dusty-looking, but I think I'm probably going to go with normal and just turn down the blend mode or the opacity a little bit. I think I'm going to make these leaves just a little bit smaller, a little more narrow rather. They have this share at the Oscars feel to them, so I just want to make them a little bit smaller. Now you can take this a step further and you could go ahead and add veins. The carrot wouldn't have veins like that because again, the actual leaves, they're made up of multiple offshoots. But this is your carrot, so go ahead and do what you like. I'm going to call this done now. I like the different colors playing off the oranges and the yellows here. This is going to be my carrot of choice. I'm going to go ahead and make sure that everything is grouped together and we're all set. Again, I would choose to just go ahead and save this off as a PNG without the background so I could use it. In the next video, we're going to go ahead and create a bunch of golden beets. I'll see you there.
9. Purple & Golden Beet Illustration Part 1: In this video we're going to create some beets. Now I ended the last one thing I was going to do a bunch of golden beets and I actually changed my mind. I'm going to do one purple beet and one golden beet. I'm going to show you how you can easily add a drop shadow using one of the objects that you already created. Now it's up to you whether you want to add this or not. I typically don't unless I have it as a single element, for example, on the cover photos of each of these videos. But if you do have some vegetables crossing over one another in an illustration, if you were looking at a paper collage in real life, depending on how it's glued down and the lighting situation, you may end up with some drop shadow. Whether you decide to add it or not, it's completely up to you, but I'll show you an easy way to create them. I've pulled in my golden beet color. I also have this darker color for the purple beet. We're going to add some additional textures and colors using our brushes. Then I pulled in these green colors for the leaves. Taking a look at the reference photo, the shape itself is very similar to the turnip, it's just a little bit more rounded. It has that same tail. The leaves are very similar to Swiss chard. They have a really long stock here and this triangular, wavy shape at the top. I'm going to go ahead and turn off my reference guide. We'll go ahead and grab our golden beet color and start with that shape. I have my golden beet color turned on here and selected. I'm going to grab my selection tool and I'm just going to start drawing out my rounded shape at the top, and come down and do that tail. I'm not going to make it too long, I want room to work and just come back up, close it off, copy and paste. I like how that looks, which I'm going to zoom in a little bit and see if there's anything weird. I have this little bump here and that's not a problem. I'm just going to snip it off with the selection tool. Three fingers swipe down, cut, and that's all better. I'm going to grab my uniform transform tool and just make this smaller so that I have room to put my leaves in. I'm going to grab this lighter green color, the avocado green. I'm going to make my leaves with that, so I have that selected and make the really long stock. Then come up in that pseudo diamond shape that's wavy. Back down to close it out, copy and paste. Now I want to add two more leaves, so I want to make sure that I reselect my layer here. I want them on separate layers. That's why I'm going ahead and doing multiple copy and paste rather than adding them. That way, I have some flexibility as to where they're being moved. Always make sure that you go back in and select the digital paper layer again. I'm going to go this direction just to grab some new texture. Again, I'm going to be able to move these where I want but I want them to look a little different, so I'm going to grab them in different spots. Copy and paste, go back in, grab the papering and I'll start going in this direction. Now you could duplicate the leaves. But again, your texture would look exactly the same. You can change that with some of your brushes and stuff. But I actually just like grabbing different spots here. I like how my leaves look. I might just move them a little closer together just so that I don't run into any issues when I create the purple one. This one feels like it needs to be flipped. I'm going to go ahead and use my horizontal flip tool and I like that direction better. Again, this is another reason for using separate layers, is you have some flexibility. I can make this one a little bit smaller, rotate it and move it in. There I have my nice little beet with my leaves. I'm going to group all of these together, and then move the group up and out of the digital papers. I'm going to turn it off temporarily so I can do my purple one. Let's go ahead and grab the purple digital paper and we'll create that beet next. I have my dark purple paper up, I want to make sure I have it selected, grab the selection tool. Again, I'm just going to go ahead and draw out that round and beet shape. Come down with the tail. Not too far and close it out. Copy and paste. Then I have this little spot there, I feel myself doing it, but it's not a problem. Again, I'm just going to go ahead and snip it off using the selection tools, my scissors. Three finger swipe down and cut, and I'm all set. If you make mistakes, don't worry about it. Either you like it and you keep it, or you just correct it everything is correctable, especially in the digital world. I'm going to go ahead and make this smaller again so I can create some leaves. I want to pick one of the other colors. I think I'm going to go with this lighter green. No, I'm going to go with the darker one. I'm going to do the same thing I did with the golden beet, so I' going to speed it up at this point. I'm going to cut out three shapes and make sure that in-between each one, I hit "Copy and Paste" and then reselect the layer so I have three separate layers. I'm going to go ahead and do that now. I have my leaves and my a purple beet, and I want to group all of these together. Grab the group and I want to get it out of my digital papers. At this point, what I want to do is I want to turn both of my beets on and I want to start placing them the way I want them so that I can start doing my shadowing. I have my beet shapes in place. I want to go ahead and add just some subtle shadowing where they cross over each other here and here. I'm going to use these as my guides. I'm using objects I've already created as a guide to create the shadow here. Again, this is completely optional. You don't have to add this, but it's just a way of adding some added dimension. I'm going to go ahead. Once you add a copy mass to two of my elements on my bottom beet here, I'm going to add one here to my beet shape, and then one to this leaf right here, which is this layer. I want to sample colors from here. I'm also going to grab my fine nozzles spray paint brush. I like that it has texture. You could also use the soft brush in airbrushing, it's up to you. I just like how the spray paints, the fine nozzle looks, and I'm going to make it really small. I'm going to start up here at the leaf. I'm going to grab that clipping mask. I want to sample this green color. You could use black, but black tends to be very harsh. Now in this case, the colors we're sampling are pretty dark to begin with. You could just go ahead and use black. If I were adding something here though, black would be way too harsh and I really wanted to be subtle. I've sampled that green, and I'm just going to go up here and make it a little bit darker. Then I'm going to follow the line here of my leaf and just started to add a little bit of drop shadow. Because I'm using a brush instead of a layer, it's only adding it where I really needed and not elsewhere. The next thing I'm going to do is go ahead and grab a Gaussian blur, and I am going to do this on the layer. I'm going to slide this up. I just want to go ahead and make it blurred, and then bring that to about eight. No, I'll go with seven. It's very subtle. I want to change this to multiply, that's again, a good one to use for shadows. I actually like the opacity, I'm not going to change it. This would be as if this portion of the leaf was simply not completely glued down, it would have that slight drop shadow. I'm going to do the same thing down here. I want to go to this clipping mask, this time I'm going to select the purple and just make that a little bit darker. With that same brush, again, I want to follow my line here. That's almost black, it's not really that much different. But again, I always just recommend using whatever color you are starting with rather than a black. Grab layer. I'm going to do the Gaussian. In this case, because it is on such a little white area, I think I'm going to end up changing the opacity, but we'll see. I'm going to change this to multiply, and I am going to knock it back a little bit. I really just want it to be something subtle. Now you could do it in other spots. Depending on what your background color is here, you could add it in different places. This looks flat now that I've done it here. I'm not for the purposes of this illustration going to do it. But if you wanted to add it in various spots, just pick some spaces. The one thing you want to make sure that you do though, is determine which direction your light is coming from, and every element that you added to, the light should follow the same direction. Whether you're doing a realistic illustration or not, if you don't do that, it doesn't look cohesive. Some people wouldn't notice it, but some might. We're going to go ahead and start adding some textures. I'm going to grab some of our brushes and some fun colors and start filling in our shapes here.
10. Purple & Golden Beet Illustrations Part 2: We're going to go ahead and start adding some texture. Now, off-camera. I went ahead and added some additional shadows here just so that you can see what it looks like if you're adding it to all of your elements. I'm not adding into every piece because if I were doing a paper collage and I glued this leaf down perfectly, you wouldn't necessarily see a drop shadow again depending on my light source. This were up a little bit or curled. So I just added it in different spots. Again, I just selected the color of the shape I wanted to add it to. It just dropped the color, the light value of it a little bit so that I could use something similar to it rather than using black. If you want to use black as your shadow, it's totally up to you. But I just prefer to use something closer to the color I'm using so it's not as harsh. I changed all of them to multiply and then I just dropped the opacity as needed. Again, I just follow the same process I used here and just added it in certain spots. Now we're ready to start adding some texture with our texture brushes and some additional colors. I'm going to start with my orange beet here. I'm going to add another clipping mask to this. I want to grab, let's grab the other. I'm going to use the tomato palette because I've had some of the colors that I want to use. I'm going to grab this salmon pink color. Let's go back up to the paper collage set. I'm going to use my grainy speckles brush here to add some color to the sides here. I'm kidding. I'm using some heavy pressure here because I'm going to knock it back. I'll come down the root a little bit. I'm going to go ahead and change that to darken and drop the opacity. That's the first bit of texture I'm going to add. I'm going to add another clipping mask and I want to grab my go-to, Little Nicks brush that I love to use. I want to pick a different color. I'm going to choose one of these browns. I'll go ahead and just start swiping across. Again, I'm not going to congregate in any one area. Just like with the turnip, I just want to add those lumps and bumps to it. I'll go ahead and change the blend mode. It's going to play around with it till I find something I like. I think I actually like overlay or hard light. It keeps that brown color but it blends it in a little bit more. It's going to drop the opacity a little bit. I want to add a little bit of the duskiness that you see on turnips and beets and stuff. I think it comes from being in the ground, I'm not really sure. Look at this tan color and this petal speckles brush. I'm just going to hit it over here, so a little too dark. Let's go ahead and add a little bit of something here. It's not real noticeable because of the texture. We're going to go ahead and clear that layer. Let's try a different brush. Let's willow brush, that's too big. Let's try the willow wisp brush, there you go. I'm going to use a willow wisps brush and it's actually, I'm an awful white color, but I'm going to knock that back. I'm assigning it to the top here. I'll go ahead and change that to screen and drop the opacity. Again, it's just adding some of that dusky top that you'll see on the beets. I'm going to go ahead and add something to my leaves now while I'm in this group. I'm going to start with this middle one. I'll add a clipping mask. Normally the veins are actually yellowish. I'm going to go with something red or pink, just additional color. I'm going to go back to that same salmon pink color that I used here. I want to get my detail brush for this. I'm just going to go ahead and draw up some nice little leaf veins here. I'm going to do this to all three of them and I'm going to speed up the video so I'll see you on the other side. Now one final thing I want to do is just add a little something to the stalks here. I'm going to stay on that same layer. I'm going to grab my Gouache wash brush and I'm just going to hit it in spots here just to play into that red that I used for the veins. I'm just hitting it on this side. I'm going to go ahead and do this one. This time a little touch a color. Then finally, this one. I might just drop the opacity a little bit. I think I'm done with the golden beet. I want to go ahead and add something to the purple beets. Now if you remember from the reference photo, these are really dark purple vein to them. I want to make it a little bit brighter so that they show up nicely on those because I didn't quite use the same color as these leaves. I used a different green and it's a lot darker. I'm going to go ahead into my leaves. I'm going to start with the leaves on this one. I'll go ahead and add a clipping mask. I'm going to grab this red color and again, grab my details brush and just draw up. It's almost pink on here. I'll follow this on all of the leaves. I have my veins in place. Now I actually use the detail brush to go up the side of these because these are pretty solid in the reference photo as far as the stalks. Instead of using the Gouache brush, I just went up to add a little bit of a color with the detail brush. I'm going to go ahead and add some texture and color to the body of the beet, so I'll go ahead and add another clipping mask. Whenever I have this other beet, this is for the purple beet. I'm going to grab this pinkish color or I'll grab the yellow. I'm going to do that same grainy speckles brush. But I'm going to do it over here this time. I'm just hitting the top and the size and coming down here. It's almost orange on the purple. Back it up a little bit. I'm going to make this a little bit brighter, just add a little bit more. I'll go ahead and change the blend mode to, I like screen actually. It makes it off-weight. Again, I'm going to grab my little nicks brush, I'm going to add a new clipping mask. I want something that's going to really stand out. I'm going keep this same off-weight color. That's my details brush. Let's hit the Little Nicks brush. I'm just going to go ahead and add my little lumps and bumps. I'm feeling like I don't like that now. Now that I put Little Nicks in here, I'm going to delete that. I'm going to change my blend mode on this. I like the overlays. So when I use the off-weight and change to overlay, it played with the purple on the background and it gave it the pink feeling and I like that. I'm going go ahead and add another clipping mask. I'm going to pick a different color to add my gray speckles brush. I'm going to use the same orangish yellow from the golden beet. Again, I want to grab my grainy speckles brush and just add something there. I'm just touching it. I'm not going crazy with it. Adding a little more pressure there and at the top here. Then again, I'll go ahead and change my blend mode. I like color dodge. I'll go to later color and just drop the opacity. I want to move this below my little nicks brush marks so that you can see them better. I'm not going to worry about the dusky top on this one. I'm just going to take a step back and see if there's anything else I want to change. I think I want to add a little bit more texture to my purple one. I'm going to go ahead and grab another clipping mask. I want to use the wood chipper brush at the bottom here. I'm going to use this off-weight color again and I'm just going to hit it here. Instead of doing the dusky top when it add some texture to the bottom. But I'm willing to knock this back. It's a little too much. Let try overlay. Let's just try a few things here. I just want some subtle texture. We use lighten and does drop that down. I'm going to drop the opacity of this one a little bit more and maybe try a different blend mode. It's a matter of just playing around. Sometimes you'll add another element of texture and you want to change what you already put in there. I actually like hard light because of that pinkish feel. I'm going to call this done. In the next video, we're going to go ahead and create a fanciful woodland mushrooms. I will see you there.
11. Mushroom Illustration: In this video, we're going to create this magical woodland mushroom. I love the redcap swamis and I pulled in some of my red papers, the mushroom cap red. I pulled in this darker red to create a shadow at the bottom to give it the impression of a dome. Then I pulled in cream of mushroom and this beigey taupe color to make this bid and the rest of the stem. Let's go ahead and get started. I'm going to start with my mushroom cap. I'm going to grab the mushroom cap red and select it. I've turned it on. I'm just going to draw out the dome, and I want to hit it at this point in the digital paper because I really like the texture there. I'm just making bean shape. I'll go ahead and do a copy and paste, turn that off. I like how that's looking. I might just move it up a little bit and maybe make it a little wider with the freeform transform. No, actually, I think I'm going to keep it there. I'm going to wait on the shadow part until my stem is in place and I'm not going to add any additional texture to this just yet. I want to go ahead and add my stem so I'm going to grab the cream of mushroom a paper in my selection tool, and I'm going to make a nice cut steam. I'm going to start under the cap and just draw down, close it out, copy, and paste. I think I want to make that a little wider. Not too wide. I don't want to make that little bib. I want to take these two and I'm going to move them out of this group and above that paper so that I can use it as a guide. I'll make sure I select that layer. Again, I'm going to start under the cap and just draw that wavy detail, copy and paste. I want to move this up between the two pieces. Let me just take a pause and check how everything is looking. I'm liking the shapes of everything, I might just narrow this out. Just touch from both sides. I went a little too far on the right, and that's okay. I have a cap in place, the little bib that was in the picture and a stem. I'm going to go ahead and add that shadow now. I want to grab that dark color and turn it on. It's really just going to be peeking out from behind to give the impression of seeing the inner portion of the mushroom cap. I'll grab my selection tool, and I'm going to start up about here, come down. It just going to a peak on the other side. Close it out, copy and paste. I'll turn off my selection tool. I don't really like it on that side. It almost doesn't make sense. So I think I'm going to bring it down a little bit and maybe rotate it, grab my work tool, and just bring this side up. If it doesn't look exactly the way you wanted, just use your transform tool to change it a little bit. I want to do a little bit more on this side just to get it out. You could also just erase it, but I'm fine with just manipulating it. That way, I still have it in case I need it. Now, I'm just noticing this one little spot here I don't like, and that's on this mushroom cap. I'm going to go ahead and just take care of that. Three finger swipe down and cut, and zoom back out. We have all of our pieces in place, let's go ahead and add some texture using our brushes. I'm going to start adding some texture to my mushroom and I want to start with the stem and the little bib. I'm going to go ahead and add a clipping mask to the stem. I want to grab the little nicks brush. I'm going to draw down the ribbing with this. I'm going to use a color. I'm going to grab this orange-ish brown. We're going to in a blending it in, but I want it to be a little bit more standout than the cream color. I'm following the direction of my curve here just you play into that. I'm going to go ahead and change my blend mode on that to Darken or maybe Multiply. I'll go with Darken and just drop the opacity a little bit. I'm going to do the same thing with my bib here. I don't even know if that's the actual term, but I'm going to call it a bib, it looks like one. In this case, I do want to grab his later color, so I'm going to go ahead and grab that cream color. I'm just going to do the same thing, just draw down with the little nicks brush. I'll just go ahead. I'm only going to drop the opacity on this, I'm not going to change the color. I want to add a little bit of shading to, I think my right side here, I think the mushroom is going to end up having shading on the right. Again, I want to make sure that I determine which way I want my shading to happen so that I follow it on the entire thing. I think I'm going to place it about there. I'm going to add another clipping mask to this one, and I'm going to grab my textured gouache brush, and grab another brown color. It's going to hit it on the side here. Again, this brush builds upon itself, so I'm going to go ahead and do that. I'm going to go heavy on it because I'm going to change the blend mode as well as the opacity. I'll change that to Multiply and just drop it a little bit. Do the same thing on the same side with this one. Except this one, I actually want to make this special, a little bit smaller and I'm going to come here as well and do that, just to give the impression that it's under the mushroom cap. Then I'm going to add a little heavier on the edges. Again, I'm going to blend this in so it's not going to be a strong. I'll go ahead and change that to Multiply. I like the texture coming through. I'm going to go ahead and add some texture to my cap now. It has these hints of dots here, but we are actually going to add some actual dots using one of the brushes. But first, I'm going to go ahead and add some shading and highlights as well as some additional texture. I'm going to go ahead and add a clipping mask, and I'm going to sample this red, and then just change it from here. I'm going to drop this down to a darker color. I think I'm going to grab this tattered gouache and just see how I like this. I'm going to follow the bottom here. I like that it's giving me some texture in addition to giving me some shading. I'm not sure. Let's see. Let's change it to multiply and drop the opacity a little bit. Actually, I'll add another clipping mask. I'm going to go ahead and grab my textured gouache brush and go a little darker and go closer to the bottom here. Oops, I didn't clip it. Just to make sure that I'm really playing into that curves. I want to give it that curved effect. I'm really hitting it hard on his but again, I'm going to be dropping the opacity. Maybe make it a little bigger. I like the texture on the edges here. Let's go ahead and grab another brush and start adding some highlights. I'm going to add some highlights up here at the top, I want to add a clipping mask and I'm going to grab this kind of orange color. It's really bright but it's going to get knocked back. I'm going to use that same textured gouache brush, pretty large, and I just want to hit it here. I'm going to focus a lot on the edge. I want it to be really textured so I'm just lightly hitting it but letting it build up on the outside here. I really want the texture to show there. I'm going to go ahead and change that to Screen and then just drop the opacity a little bit. I'm just going to try one other thing here. Let me go ahead and hit this with this Wood Chipper brush. I want a little bit more texture. I'm going to make this brighter and larger, and just hit this along the side. I'm just having fun. I already have this here but I want to have a little bit more on this top here. I'm going to go ahead and change that to screen and drop the opacity just to give it a little more texture on the top. Again, I'm going to be adding actual dots and I really want the texture to show through beneath it. I'm going to go ahead and call that done for the texture, maybe drop the opacity on that just a little bit more. Now, I want to go ahead and add some of my dots. I'm going to use the Textured Elipse Stamp for that. I'm going to sample my color down here so that I can coordinate the two, and I'm going to do a layer on top, this isn't going to be clipped. I'm keeping my brush relatively small. It's a pressure sensitive brush so if I press too hard I get a really big dot and I don't want that. I want to do varying pressures. If I get anything too big, I just back out and try again. I'm just going to go around the whole mushroom and just add my dots. Sometimes, it's just a little too heavy. I don't want to completely cover the texture but one of my favorite parts of this mushroom is those little white dots. Now, they're a little too heavy. I want to knock them back a little bit. I'm going to grab my eraser and I want to set it to the Stucco brush that I was using previously, which is right here. I'm going to set it large and just make sure I actually select the eraser. Just tap just to knock away some of the heaviness of those dots, so they have some texture along with everything else. I actually like how this looks, I'm going to go ahead and leave this alone. I loved the amount of texture that's coming up underneath the dots. I didn't want to overdo it down here because I loved that red color. So I really just wanted a hint of shadowing down here and a little bit more texture at the top. I'm going to go ahead and call this done. In the next video, we're going to go ahead and make some garlic.
12. Garlic Bulb Illustration: In this video, we're going to go ahead and create a bulb of garlic. I'm not going to create an open one, but one like this, it's going to be closed. I pulled this thing because I really like the color of that and I'm going to use that as some of my shading and texture on the outside to define the bulb areas. You can see it in this back one here, it has that subtle purple look to it. I'm going to cut out my bulb shape first with my cream of mushroom paper. I've pulled in the cream of mushroom digital paper as well as this Green. I know you're not supposed to use garlic when it has stocks coming out of it, but for my illustration, I'm going to add them because I think it has a nice pop of color and I like how it looks. I pulled in that avocado green. I may or may not use this pinkish color, paper. Right now, I'm going to start with my cream of mushroom. I'll go ahead and turn off my reference photo, and I just want to cut out the garlic shape. I'm not going to do any of the additional cuts like at the top, I want to leave it pretty squared off. Once I add the stalks in, I'll add my cuts because I can better see where I want to put them. I'm going to select that layer, grab my selection tool and a freehand, and I'm just going to draw out my garlic shape, and it bumped out at the bottom. It's a shallow heart shape, and I'm going to bring it up high down here and then close it off like that. I'll do a copy and paste, turn off the digital paper. I want to make this a little wider, so I'm going to change this to free form on my transform tool and just widen it, and I'll turn it back to uniform and make it smaller so I have room to work. I'm not going to do anything else to this just yet. I want to add my elements to it first, and then I'll go ahead and do further cuts to the top here. I'm going to grab my green here and I want to make the little stalks, I just need to move this down a little bit. Again, I'm doing this just to add a nice pop of green color. I'll select that, grab my selection tool, and I'm just going to do some little little shapes like this. I have it on add so I can keep adding them. I'm going to do multiple sizes, and widths, and directions, and they don't need to be continuous because again, I have this on add. I'm going to go this direction because I want it a little bit fatter. I think I might pull in another green, I'm not sure, or maybe a yellow. Let's see how this looks first. I'll do copy and paste. Now, it's on its own layer. I'll turn off my selection tool. It doesn't look like much right now because I haven't cut this out yet, but I'm going to leave it as is for right now. I'll do that at the end of it. I may add, and I'm going to do that, I'm going to grab another of these digital papers and add another bit of a dimension with that green. I think I'm going to add some of this leafy green in the back just to give it a little bit of shadowing in the back. I selected that layer. I have this sitting on top of it so I can see where I'm working, and I'm just going to do a few here and there. It's just giving me a little bit of as if it's shaded. Copy and paste. Turn that off. I'm at the point where I want to start adding some texture to my garlic bulb here, but the first thing I'm going to do is carve out some of my spots. I wanted to carve out a little bit more here at the bottom, so I'm going to go ahead and select that layer. I'll grant my selection tool on freehand, and I'm just going to start digging out some spots here. I'll go ahead and make my little shape, hit "Cut", grab my selection tool again, and I'm going to make a rounded one here. I'm going to be pretty random about this. I'll end up moving those leaves down so that they fit in there. I'm just trying to give it that feel of it being the paper closed around the leaves. I'm going to do one more little one here. Just keep remembering to grab your selection tool. Not copy, stray, cut. I'll move my green leaves down a little bit and make them a little bit more narrow. I'm going to turn on Freeform. I want to cut out a little bit at the bottom here. I want to give more of an impression of the bulbs at the bottom. I'm going to use my eraser for this though so that I have some of that detailed texture. I'm going to use my detailed brush. Again, with this layer selected, I'm just going to come in here and draw more of a bulb shape. I'm not going to finish that off, it's actually my eraser. It's not the selection tool, but I'm going to grab my selection tool and I'll just select around these final little bits here, and grab this one, and then finally, this one. I'm just grabbing what's left over here. All three fingers swipe down and do a cut, and now I have more of a bulb shape at the bottom. I just want to refine it a little with my eraser. I'm just going to come in here, and this is a little too pointed, so I'll just round that out. Get rid of this little excess here. Here we go. Now, I'm going to add some texture with my brushes to play up the bulb feel here, as well as add some additional texture to the rest of the outer paper here. Let's go ahead and grab our brushes. We're at the point where we want to start adding some texture and some color to this. I'm going to do that using the brushes. I actually don't want to use that purple paper that I pulled in, but I do want to use the color from it. I'm going to turn it on temporarily. Go ahead and select the color, and then turn it off. I'm going to go up here to my brushes and grab my grainy speckles brush, and I want to add that to this paper out here. Add a layer, turn on new clipping mask, and I'm just going to go ahead and start running it along the sides here. I'm going to run it along the entire bottom and up the side here, and I'm going to press down a little bit harder on the edges over here. I'm really just using it to define some shadows here and really define the curves. I'll go ahead and add a little bit here as well, just going to come in. I'm going to change my blend mode. Let's try dark, and that tends to be a good one with us. I just want to drop it down. I don't want it to be too, too much, but I also don't want to lose that beautiful purple either. I have that in place, the next thing I want to do is I'm going to use my little mix brush to add to some of that, there's little lines coming down if you look really closely here just to get some of that ripping in the paper. I'm going to grab this orangey brown color. You would think I would grab something closer to the cream color, but I actually want to do that because I want it to have some additional pops of color on top of that cream. I'll go ahead and add a clipping mask. I'm going to grab my little mix brush up here, and I'm just going to come down, and I want to start following the direction of the bulb. Where it curves out here, I want to curve out with a little nicks because this is going to help me define where my cloves are as well. I'm going to do that first and then I'm going to start coming down in other directions, but I at least want to have some of them working in the direction so it has a little bit of a bulbous feel. Come down from the top here, and just like with the beats, I'm not concentrating in any one particular area. I just want this to have the feel of having lions coming down on the paper. You could also use the petal and veins brush if you wanted a little bit more defined lines. Again, I'm going to go ahead and change my blend mode. I think I'll go with dark in and I want to drop that down. I'm not looking for this to be too much color. I just want it to be a little different in a way/ I think I'm going to go ahead and grab one more. We'll probably do two more. I'm going to grab another darker color. Probably just a little bit darker than that lighter purple. Again, I want to grab that textured wash that we used in others, and I'm going to hit the bottom here and the sides. I'm really just trying to play into the curve, and I am going to change this to multiply and drop the opacity. It's standing out a lot right now, but it's not going to at some point. Let's go ahead and change that to multiply. Let me just drop our opacity. Now, one final thing I want to do is I want to use my details brush. I'm going to add a clipping mask, and I want to grab my detail brush on this dusky purple. I just want to do some faint lines here to help define where the cloves are. I'm going to go ahead in this direction. I'm not going like this where I'm making it really defined. I'm just putting lines in certain directions just to break it up a little bit. Now, I'm going to go ahead and change that to multiply and drop the opacity. It's just a hint of a line. I'll leave the bulb for now. I don't think I'm going to change anything. What I do want to change though was I want to add some color to these green leaves. I'm going to add a clipping mask, and I want to grab my stucco brush, and I'm going to grab that same greenish blue color from the beat palette that I've been using. I seem to gravitate towards that. I'm just going to tap some green blue onto this, and that kind of plays off the purple. You can add whatever you like. You could be true to the garlic and not have any additional color. It's totally up to you. I'm going to go ahead and make this a little bit lighter. Just add a little more texture and I'm just being random about it, and get a little darker. I'm going to do the darker on a different layer so that I can change the blend mode, and it's going to be down here where it's behind the paper. I'll go ahead and change the blend mode on that. Multiply and drop that down. Then I'm going to try some other blend modes on this just to see if I like anything. Otherwise, I'll just leave it on normal, and maybe drop the opacity a little. Think I'm going to stick with normal and I'm just going to drop the opacity. I don't want it to be too blue, I just want a little bit of a hint of it, just again, to play off of the purple. I like how this is looking for the most part, I want to add one final thing to really drive home that garlic. Let me go ahead and grab my transform tool, and make this a little bit smaller, and move it up. I wanted to grant my detail brush and that same brownish color that I used up here. Now, add a layer below the entire group. I'm just going to draw down some roots. I'm going to really concentrate pretty around there and just varying sizes. I can just group all this together and maybe make it a little wider. There is my garlic bulb. Again, have fun with this. You can add color or you can remain neutral and just add additional textures. I would actually probably take my little next brush and add some more texture here, but I'm going to call this one done. In the next video, we're going to move on to the always controversial vegetable because you either love it or hate it. We're going to make some broccoli. I'll see you there.
13. Broccoli Illustration: Love it or hate it, we're going to create some broccoli in this video, and we're going to do it using a mix of our green papers. I pulled in the broccoli crown green, as well as kept some of the other greens out here. We're also going to use some of our brushes to create this dotted top, specifically the grainy speckles brush. Just taking a look at this reference photo, it's a nice, rounded shape at the top and we'll go ahead and do that with ours. I'm going to create the stalk using a mix of two of the digital papers and then use the brushes to create some of the markings. I'm going to skip the leaves on mine, but you can add yours in, if you'd like. I'm going to go ahead and turn off the reference guide. Let's go ahead and grab our digital papers and get started. The first one I have grabbed is this light medium color here. I select it and turn it on. I'll grab my selection tool on free hand. I'm going to draw a series of rectangles that are connected at the bottom in various widths and heights. I'll just go ahead and start drawing this out. Again, I'm just going to vary my width and my height, they're going to be very angular. It's almost like the stalks that we created for the beats and the carrot. I'm just going to round out the bottom here, close it off. Copy and Paste. If I turn that off, there, we have our first one. Now, this is a little too big, so I'm going to go ahead and select that layer and I just want to use my freehand selection tool, you just come up and around. I'll go ahead and three-finger swipe down, cut, and I just want to narrow it out just slightly. I'm going to move this over. Let's go ahead and turn on the really dark color, and drag this up here. It's sitting on top, and this is going to be my back level. Now it's really dark, but we're going to lighten it up a little bit with some of our brushes and use some lighter colors on it. I'm going to go ahead and just move it around there. I'm not going to do as many here, this is just going to be a little bit in the back. Again, I'm going to make sure that that layer is selected, grab my selection tool. Again, I'm just going to do some varying sizes in height, as well as width. I'm going to keep it behind, I'm not coming down below the curve of the other one, I'm keeping it behind because, really, it's just supposed to be the same stalks but shadowed. So again, Copy and Paste and I'll turn that layer off and just drag it up. It's really dark, but we're not going to worry about that because we're going to add some texture to it with layer brushes. I do want to move it over slightly though, right about there. It's hanging down a little at the bottom there, I'm just going to move it up. Maybe tilt it. I have my stalk, I'm not going to add my texture yet, I want to actually add my broccoli crowns first. I'm going to use that same dark color and I'm going to change this blend mode so I can see it. I'm going to go ahead and just put it on screen for right now. Because as I'm cutting these out, I want to be able to see where my stalks are. I've got that on screen, I'm going to go ahead and select my broccoli crown digital paper. Again, go ahead and hit my selection tool and free hand. I'm going to draw out a series of irregular shapes here, and I want to do them on different layers so that I can add my texture to each of the layers as well as some shadowing and highlights. I'll go ahead and do a Copy and Paste and then drag this up, but I'm going to keep it under for right now so it doesn't block my stalks. I'll go ahead and deselect and enter my selection tool back on. I'm not worrying exactly where I'm placing them because I can move them around since they are on different layers. Again, Copy and Paste. Now, I made the mistake of not selecting my paper again, so it created this little shape. I could work with that, but it's actually cut out of this one. I'm going to go ahead and back out of that. Make sure I have this selected. I don't have to undo that, I can actually just go ahead and three-finger swipe down, Copy, three-finger swipe down again, and Paste. Now I have the correct layer, so I'll drag it up and out. Again, last one, I want to make sure I select the layer, grab my selection tool, and I'm just going to do one over here. Again, I'm being deliberately irregular about this because that's how the crown is. But because we have this curve of these stalks, it's going to curve the way it does in real life. I'll do Copy and Paste. I might end up doing one more, but I think I'm good for right now. I'm going to go ahead and turn off this layer and just take a look at how that looks. Choose the blend mode of this. Now, obviously, the stalks are blending into this a little bit and we don't want that, but we're going to take care of that again with some of the brushes. I want to group my broccoli crowns together, and I'll go ahead and move these up above now. I think I'm just going to keep them the size that they're at. But I'm going to reduce the size of my stalks. I'm going to go ahead and select both and I want to group them, select the group, and I'm just going to make this a little bit smaller. But I'll keep the crowns the size that they are and just move this into place they wanted, whether it's rotating it or changing the size, and I go ahead and change the bounding box here. Again, just pull down this little yellow box and move it to where you want. Now I can move it with the bounding box this way. I like how that's looking. I'm ready to start adding some texture, specifically adding some highlights so we can break this up a little bit, it looks like one large piece and we don't want that, and to lighten some of this up, as we'll also add some nicks. Let's go ahead and grab our brushes. We have our crowns in place, we have our stalks in place and we're ready to start adding some texture and maybe some highlights and shadows, as well as some textured nicks here on the stalks to using our brushes. I'm going to go ahead and grab yellow, but I might tone it down just to make it a little bit darker. I'm going to grab my grainy speckles brush, I'm going to work on this middle one first. That's actually the one that's sitting on top of the crown. I'm going to go ahead and add a clipping mask to it. Just tap and add a clipping mask. Again, I have the grainy speckles brush selected. I'm going to drop the opacity just a little bit and I'm going to start hitting the top here. That's just going to give me that hint of that little dotted pattern. I make it a little bit heavier on other spots and maybe bring it down here. That's going to start to set it above the others. I'm not going to add any on this one over here, maybe a little bit on this side. I'm now going to go ahead and play with the Blend Mode. I tend to lighten with something like this because it actually lets the texture come through from the bottom and it varies the opacity of the actual layer. Oddly, I'm actually liking how this Linear Light looks. I might keep it because I like that it's making a variation of reds and yellows. It's not obviously how you would see broccoli, but I like how that looks. I think I'm going to leave it at Linear Light. I might end up changing it when I'm done, but for right now I think that's fun. I'm going to go ahead and work on this one over here. I might not do that same blend mode, and that way I'm breaking out my various broccoli crowns here. I'll go ahead and add a clipping mask. Again, I have that same color, but I might make it a little bit lighter on this one. Same Grainy Speckles brush and I'm just going to hit the top here as if the light's hitting it like that. Because I have the different blend mode here, it's breaking out the various crowns from one another, get a little heavy over here. I think I'm going to keep the blend mode on normal. Actually I'll go with Lighten but just drop the opacity slightly. I like how that's looking. Now I could add some additional colors here. In fact, I'm going to try one thing, I want to see what it looks like if I add a bluish green to that. Again, not normal at all. You're not going to see that in a real broccoli, but this is supposed to be a paper collage. I'm just lightly touching it with this blue-green. I'm kind of liking how that looks. Again, I'm breaking out the pieces from one another. Let me go ahead and change the blend mode on that, play around with it. I like how Lighten looks, it knocks it back a little bit, but you can still see it down here. I think I'm going to do that and just leave it on its regular opacity. Let's go ahead and add a clipping mask to this final one. It looks like I'm not going to need to add another one, I'm just going to keep it as is. If you wanted to you could vary some of the sizes, so I can make two small ones. It's totally up to you. Let's go ahead and go to the clipping mask for that last one. I think I'm going to start with this, that same light color I used over here. Again, the Grainy Speckles brush, and I'm going to concentrate over on the right side here and it'll be a little bit more heavy at the top. I'll change my blend mode and see what Lighten looks like. Lighten knocks it back a little bit and I'll drop the opacity. I think I want to add another clipping mask and maybe play into some of this red using that other blend mode that we used. I'm going to go ahead and grab this darker yellow, and I'm going to hit it. Actually, I don't want to hit it too close to that other, hit it right about there. It's a little too heavy. Let's go ahead and change the blend mode to Linear Light. Drop the opacity. It just plays into that red there. We're going to start adding some texture here to the stocks at the bottom. Now I did end up adding a little bit more to my crowns. I used the Wood Chipper brush on that same blue color I did over here, and just added some there. I also use the Petal Speckles brush up here on yellow. Again, this isn't how broccoli is going to look in the store but I want to have fun with this. I want to play into some colors and broccoli itself can be kind of boring. Because I'm creating this myself, I'm just going to go ahead and add some color. I'm going to play into some of these colors down here. I want to add a clipping mask to my darker layer. I'm going to start with that one. I will grab my Leaf & Petal Veins brush, and I'm going to grab this kind of medium color green. I'm just going to start swiping up. I want it to be a nice balance between the lighter green and the darker green. I'll go ahead and change my blend mode, just going to try a few different things. I actually kind of like Color Dodge. I'm going to try a couple others, but I think I may end up going to Color Dodge again. I'm going to go back to Color Dodge and I'm going to keep the opacity where it's at. I like how it adds that golden yellow that plays into this here. I'll go ahead and add a clipping mask to my front stock here and I want to grab a light green. I think I'm going to grab this light green right here and I'm going to grab my Little Nicks brush this time and just start swiping up. I'm not adding too many because there's already a lot of texture in this particular digital paper and I really like the texture, so I don't want to cover it. Go ahead and focus on the bottom here. I'll go ahead and play with the blend mode, it's a little too bright. I like Lighter Color. I seem to tend towards lighter color with this, I like Overlay. I think I'm going to go with Overlay and keep it on the same blend mode. I'm going to add another clipping mask and I want to go with a darker green. I'm going to use that same Little Nicks brush and I'm just hitting it again just to give it that stock feel. This particular green, I grabbed this green here and just dropped it down a little bit. It's got some blue in it and it plays into the blue that I used in the top. Let's change the blend mode on that, just play around with it. Think I like Soft Light, I'll just drop the opacity slightly. As I'm sitting here looking at this, I feel like these two aren't separated out enough. This I'm actually good with because of this texturing here. I'm going to go back up to my crowns. I believe it's that one. I'll go ahead and add a clipping mask. I'm going to use the yellow. I think I'm going to try my Petal Specks 2 brush, and just grab that darker yellow, and just run it along here. Again, just so I am breaking up the two crowns a little bit. I'm going to go ahead and blend that in. Think I'll go with Lighter Color and just drop the opacity. I don't want it to be too much. I just want it to be enough that you can see there's a difference between the two crowns. All right, so there's our very colorful and textural head of broccoli. In the next video, we're going to create some peas on a vine. I'll see you there.
14. Pea Pod Illustration Part 1: We're in the homestretch here. In this final illustration, we're going to create this pea vine with these fun little pods and peas nestled inside of them. Taking a look at the reference photo, I'm going to skip doing the flower, but I am going to create this little cap at the top as well as the pod itself, and these fun little peas nestled inside. There's a flattened oval shape, so I'm going to create them that way in mind. The leaves are pretty basic and they're just pointed ellipses. So we'll create those as well. It's not showing in this picture, but a lot of the time you'll see these little swirls hanging off of pea vines. So we're going to create that as well. I'm going to start by creating the base vine, and I'm going to use this medium green colors. So let's go ahead and get started. I have that medium green turned on and selected. I wanted to grab my selection tool and free hand, and I'm going to do a very shallow S-shape here as the first part of the vine, and I just crossed over myself there. So I'm going to start again. Back up. Now I want you to plot out where I want everything. The reason I do that is so that if I'm creating these different elements, nothing is blocking anything else. So for example, if I have a p-shape hanging down here, I don't want to add anything coming this direction because it'll just get blocked. So I'm going to add some off-shoots here. I think I'm going to add a p here, and it's going to be hanging down this direction. It's going to be one over on this side. So I'm just creating a little bit of a stem there, and I'll do one final one here. Now one other thing that they have is that little swirl that I mentioned. I'm going to create this along with the rest of the vine, and I'm not going to make them very large, they're just a very small little element. I'm just coming around with this little swirl and I'm going back and hit the direction you being very careful not to cross over the original line. It's going to be misshapened, and that's okay. Because if I were cutting this out with an exact dual knife, doing actual paper clause, it would be very wobbly looking. So again, I don't want to block anything. So I'm going to put my other little swirl right here, and again, I'm not making it too large. I don't want it to be a main focus, just a little element. Come back around, and I made that a little tight there. So I'm being really careful not to hit the original line, or else you get a really funny shape that doesn't make any sense. So I have my elements in place. I'm going to go ahead and do a copy and paste, turn that layer off, and now I have the base layer of my vine. At this point, I'm going to start adding some leaves and I want to add the little caps. I'm going to do all of that in the same color, and it's going to be this darker green color. So let's go ahead and turn that on, grab our selection tool. Now, the leads, as we saw on the picture are a pointed ellipse. So I'm going to go ahead and create those. I'm going to have one off of here hanging down. I made that a little too wide, it would get in the way of the pea, such as a tiny one up here, and maybe one hanging off the vine here. I want to create a little cap for the pea, so I'm going to go ahead and just draw out a little shape like that. Create one here as well, and it's doing too little ovals. You could do it in the way the picture is as well, where it's more of a jagged line. Actually, I just want some soft lines here since this is a really jagged. I'm going to go ahead and add a couple more leaves. I think I'll add one here, maybe a smaller one, and one right about here. Again, I'm just being really careful not to get in the way of where I plan to have a pea. So it's going to be one hanging here, here and in this direction. So I could add additional leaves in other places like this. I'm going to go ahead and call that done. Hit that copy and paste. Turn off that layer. Now I have my little caps in place. I want to go ahead and drag this up above, and I'm noticing that this leaf shape here is not quite where I wanted, It's not hitting the vine, and that's okay. Because it's on its own separate layer. I'm just going to zoom in here. I'm going to select it, and we're going to three finger swipe down and do a cut and paste. So I put it on its own layer, and then I can just use my Transform tool to rotate it into place and move it where I want it. Then I could always go ahead and pinch them together to get them back in place. So I have my leaves in place. I'm not going to add any of the texture or color to these yet. I will, once I'm done putting all of my elements in place. I want to go ahead and create the darker part of the pea pod. This pea is going to be open and it is going to be handing down a little bit over the leaf, and I'm actually okay with that. This one is going to be open here. I'm going to create this one as a closed leaf shape. So it's going to be like a half circle here. I want to create that using that same dark color I just is used for my leaves. So let's go ahead and grab that and get started. So I've temporarily change the blend mode of the layer with the leaves and the little pod pieces here, so that I can see them since I'm using that same color. I'm going to go ahead and make sure I select that darker green, and I'm going to start drawing out my shapes. Again, this one is going to be open, so I'm just making, I've rounded that oval. This one will be opened as well and hanging down here. Then this one's going to be a half circle because it's going to be a closed pea pod. I'll do a copy and paste and just backup and take a look at what I did. Turn that off. I'm going to change this back to normal, so we can see it. Actually, I'm going to keep it on screen so that we can see where they're placed. This is going to have something later sitting on top of that. Right now, if I turn this back to normal, it's a big block, and I don't want that. I'm going to go ahead and put this on screen, our color dodge just so they can align things where I want them. I actually want these sitting on top of everything. Because, sitting on top of the vine, I want this laying over the vine, and these are going to sit on top of that. I like where this is placed, I like where this one's placed. I'm thinking I'm not going to end up liking this leaf here because it looks a little strange right there. So I'm going to once again grab that, select it, and I want to move it somewhere else. So this is one of the reasons that you put things on its own layer, is that you have that flexibility of moving things when you want. I'm going to rotate this, and I'm going to place it up here. I also think I'm going to get rid of that extra leaf before I do that. I'm going to grab my selection tool. Just come down, close that off, cut, and now I'll move this into place here. So it's just a matter of moving things around, seeing what you like and what you don't like. I like how this little cap is sitting on the pea and this one. I'm not quite sure about that one. So I think I'm going to go ahead and select this particular shape with my selection tool, do another cut and paste, and that will give me the ability to make it a little wider. I just want to change the blend mode so I can see it. I'm going to use my transform tool and just manipulate this, just so that it's sitting on the pea pod the way I want it to, maybe move it a little bit. I like how that's looking. I'm going to go ahead and I'm going to re-emerge all of those because I like where everything is at. I like where the pea pods are sitting and I like the vine. So I'm going to go ahead, and for right now I'm going to keep these, this color will end up changing it. But I want to go ahead and create some lighter shapes in here, and then the peas are going to sit inside of it. I'm going to go ahead and grab my medium color here. Grab my selection tool, and I'm just going to start drawing inside of the darker oval here. It's creating an outline. I don't need one for that because it's close. I just need two. Copy and paste, and I want to set these on top. Turn that off. So now we're going to use the much lighter color and add our pea shapes. For right now again, I'm going to keep these, this light color because I just want them out of the way, and I could turn them off, but I also want to be able to gauge where I need to put the peas. So I'm going to keep them on for right now. I want to grab this really light color. Again, pea is a rectangular-oval, if that's possible, so they're are a flattened oval, and they're squat. The form to fit inside the pea pod. So that's what I'm going to do here. I'm going to make this really fat and squat. I'm just playing in that shape. So I'm just having fun with it. It's the expression of a pea. It's not the exact duplicate of what a pea looks like, and that's okay. A little bit smaller here. I'm going to do the same thing over here. I'm going to do a copy and paste. Again, I'm going to turn that off, turn my selection tool off, and I want to drag these up on top of everything. Now I have my little pea shapes in place. I got the pea vine and this little closed pea pod. I'm going to go ahead and turn this back to normal because we're going to start adding some of our texture that's going to help differentiate it from the rest of it. So let's go ahead and grab some of our brushes and add some texture.
15. Pea Pod Illustration Part 2: We have our shapes in place, and I like where everything is placed. I feel like this is kind of flat though. As whimsical as the actual shapes are, it needs some color and texture. Now, there is actually a p.palette in here that's with the tomatoes. But I think I'm actually going to use the other beat one that we used for the broccoli. So I've set that as my default. I wanted to add some yellows into this just to play off the green a little bit. I might even add some teal blues and possibly some of these pink since I'm not pulling in the little pea flower, the sweet pea flower, I might pull in some purples that way, but I'm not really sure yet, but it's there if I want it. I'm going to start with this yellow, and I want to start adding something to my vine. I'll go ahead and add a clipping mask. I want to grab, I think, this tattered gouache brush. I'm just going to hit it in spots. It's a little too small, that's why you can't see it. I'm just adding a subtle yellow color to it just to break up some of that green, and I don't want to hit the end there and I'm going to build up in spots. Again, I'm just trying to break this up and add some texture to it. I can always back off a little bit, but I don't want this to be the star of the show. I just want it to have a little more texture. Let's see. All right, I like darker color. I'm just going to drop the opacity a little bit. No, you know what, I'm going to stick with normal and just drop the opacity. I want a little bit of a darker color now. I'm going to add another clipping mask and I'm going to select my color from my leaves and use that just so that I'm coordinating the two. I'm going to go ahead and grab the dry gouache brush and just hit it in spots just again to add some additional depth to it. I'm not really being careful about it. I'm hitting it where I think it needs it. I'm going to go ahead and back that off just a little bit. I think I'm to back this off a little bit too. Underlying color is this medium green, and then we have some yellows and this dark green adding some texture and dimension to it. I want to focus some attention on my leaves now. I'll go ahead and add a clipping mask. We'll grab another brush and start adding some additional colors and textures to our leaves. I have that clipping mask. I want to go ahead and I'm going to add that same yellow color. I want to use the tattered gouache brush kind of low. Actually, I'm going to use that dry gouache brush. I want to be careful because these little caps here are on the same layer. I'm going to brush away from it. I'm just doing half the leaf shape to give it a little bit of a highlight and some dimension. I'm going to follow this all the way around. I am going to back off of this so it's not as obvious. I think I'm going to end up with later color. Just dropped the opacity. Again, I'm just looking for some subtle color. Now I'm going to grab another clipping mask. I'm going to drag it up on the top here so that later color doesn't impact it, and I want to grab my detail brush and make this a little bit lighter. I'm going to go ahead and follow this all the way around and just add some lines to it. I'm not going to be overly careful with them. I want them to look random. Let's go ahead and follow this all the way around. I am going to change this to lighter color, drop the opacity. I just want to hint of veins and I don't want them to be true stand out. I don't want the vine itself to be the star of the show. The peas are going to be. But again, I really wanted to have some texture and color. We have that in place. Let's go ahead and start focusing some attention on the peas themselves. We have our texture and color on our vine, as always are leaves. I want to start focusing our attention on the actual pea pods themselves. I'm going to start with the little caps. Now, those are on the same layer as the leaves, so I'm going to go ahead and add a clipping mask. The first thing I'm going to do is define these two are exactly the same and you can't tell the difference. I'm going to grab this grungy leaf brush and add darker green color. I just wanted to find the edges, really lightly here. I'm just going to build up on its cells, create a little shadow. I think I'm going to do that on all of them just for consistency and it's going to give it a rounded look. I'm not being overly careful about it. I'm going to build up on itself, and I'm going to change that to multiply and then just drop the opacity a little bit. So again, I just broke this one apart from the other. Now, I want to add some yellow to that. I'm going to play into the same yellows that I'm using here. I'm going to go ahead and add another clipping mask, and I don't want to grab the dry round brush with the yellow and just hit the edges here. With pressure, it gives it a nice texture. Let me just hit this side. I'll just go ahead and change the blend mode on that. I think I'm going to go with lighter color and again, just drop the opacity. So now our little caps are broken out from the pea pods themselves. I want to go ahead and start focusing the stem attention on the pea pods now. I'll go down here and start with the outer shell as well as this closed one, add a clipping mask. I think I'm going to grab that grainy speckles brush and this brighter yellow here and just hit the top of my closed pea pod. It's a little too much. I want to focus a little bit more on the very top. Again, I'll go ahead and change my blend mode. I think I'll go later color and just drop the opacity, and I'm going to stay on that same layer, but change the brush and just break up some of the really dark colors of this outer ones. I'm going to tap it with the Venetian rush with that yellow. It's just breaks it up a little bit, brings it in a little bit more to this vine. Let's go ahead and add some color and texture to the peas themselves, as well as possibly some shadow here. I just want to add another clipping mask and I'm going to grab this dark green color, and I think I'm going to grab that dry round brush again and just sort of hit this bottom here, just to give it a little bit of a shadow at the bottom. I'll change that to multiply and drop the opacity. I like how that's looking. As I keep going through this, I think I'm going to completely skip adding that purple in and I'm going to stick with the yellows and greens. Now I want to add something to these peas, they're blending in a little too much because they're so light. I'm going to go ahead and add a clipping mask to them. I'll add a layer clipping mask and I'm going to go back to that grainy speckles brush and grab this yellow. I'm going to bring them out by adding some texture to them, and I'm just going to swipe down the one side, not quite as hard. That might be a little too dark, so I'm going to pick the brighter yellow. I don't want to completely lose the really light green, but I want to add a little bit more texture to it. So let's go with I think I'm going to go Linear Burn it gives a sort of a greenish hue. I might add something to the green behind it. Again, I'm going to go ahead and add a clipping mask, and I'm going to grab the darker color and just hit it with this pretty gouache just in spots, just to add some shadowing here and there, and then over here. So I just want to focus on the two open ones. So we have our shape cut out with our leaf cutouts and we did little spirals. Again, make sure when you create something like this, you think ahead to what you want it to look like so that you don't have any of your elements placed to where they're going to block something else. In this case, it was fine. I wanted it to hang over the line itself. But for example, I wouldn't have wanted to place this here and have the pea cover it. I went ahead and added some textures using my brushes. I also pulled in some complimentary colors with the yellows and these greens. Again, just have fun with it. Create some fun textures. Not that a pea vine is boring. It's not like broccoli, but it is rather straight up green. So you want to go ahead and just put in some other colors. You can even go crazy and add in those purple colors that we talked about to sort of pay homage to the flower that we didn't put in. It's totally up to you. Again, just use it as your way of expressing what you see this pea vine looking like. I'm going to go ahead and call that done. In the next video, we're going to wrap things up and talk about the class project, so I'll see you there.
16. The Class Project & Final Thoughts: All right, we've reached the end of the class, and I hope you enjoyed creating your illustrations as much as I did, and that you're walking away with a few tools for your creative arsenal. I'd love to see what you create, so I hope you'll consider sharing your work to the class project section of this video. The project for the class is going to be to create your own set of vegetable illustrations using a process that I showed in the class. Make marks, add textures, make odd shapes, and put them all together to create something that's uniquely you. Sharing your projects to the class project section helps those considering taking the class see what they might learn, so I hope you'll consider sharing. If you plan to share to your social media, tag me as I would love to share your work with my followers. Find out how you can do that in the description of the class. Finally, if you love creating digital textural illustrations as much as I do, come check out my Facebook group that's dedicated to all things digital texture, where you can share your work, ask questions and even tips. Thank you so much for sharing your time with me and creating along with me. Happy creating.
Tracey Capone, Illustrator, Photographer & Designer
