Draw Unique Stylized Roses in Adobe Illustrator | Erica Ilene | Skillshare

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Draw Unique Stylized Roses in Adobe Illustrator

teacher avatar Erica Ilene, Designer and Artist

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 8m)
    • 1. Intro

    • 2. Set Up

    • 3. Shape, Colo,r and Contoure

    • 4. Roses

    • 5. More Roses

    • 6. Buds

    • 7. Leaves

    • 8. Fun With Color

    • 9. Adobe Draw

    • 10. Wrap Up

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About This Class

Draw unique stylized roses in adobe illustrator or abode draw on the iPad.  This class with cover the student of highlight, contrast, color, and accent  to create unique and dramatic effects.

Meet Your Teacher

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Erica Ilene

Designer and Artist


I'm Erica Ilene from Urban Daisies

A little about me...

I grew up in a small beach town in Los Angles county that often finds it's way as a backdrop to many movies, most recently: La La Land.  I spent almost every Saturday at the local fabric shop, which was walking distance from my home. I was mesmerized by the variety of patterns and colors, and learned to sew at a very young age. My love for patterns and colors grew through my childhood and in addition to sewing, and painting.  

- I have a Bachelors of Science in Computer graphics.  It was originally supposed to be a Bachelors of Art, but the computer graphic classes put my degree in the science category.

- I taught my Computer Graphics II class in college.- I studied typography under a prof... See full profile

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1. Intro: Hi, My name is Erica, and I'm a licensed illustrator, surface pattern designer and typography designer. I love drawing flowers, especially roses. In this class will study, highlight and contrast to draw lines and curves to create unique shapes to construct roses and leaves will also explore color and how simple color changes can create a dramatic effect. Also teach drawing tips and illustrator skills and tricks. Let's get started. 2. Set Up: Okay, We're gonna go over a few supplies and setting up your illustrator board. You're gonna need paper pencil eraser. As you wash the class, you might find that chasing paper might work for you as well. Your process and your outcome is unique to you and your process. It how you what works best for you? Remember, artist tools are unique and personal to the artist. Some artists use tools, and I try them, and they just don't work for me. So it's what works for you. So as you walk to the class, you might find that you might be using tracing paper as well. But at least paper, this is just printer paper. I don't smell out of money on pencils. Um, you want to racer? You want pictures of roses? Um, other. Take them yourself. Roses that you find around your area. Your backyard. Sometimes I find get pictures of flowers from old gardener manuals and magazines from thrift stores or the Internet. See, you're gonna want some pictures of roses. I once you have, um, we're also gonna, uh you just set up your illustrator board whether you're gonna work an illustrator or adobe draw on, you're gonna need to create a layer for your sketch. So the layers panel is important. You're gonna want a load your sketch into its own layer. And, uh, once it's, uh, this is scam. I usually take pictures from my iPhone or my iPad and are not great pictures. Um, there has long as I could see the barely see the sketch. That's fine for me for when I'm working. But for this class, I actually scan this in, so scanning it in works for you. That's great. Um, but so you just want to make sure you get this into Adobe Illustrator or Adobe draw, so this is in its own layer, and then you're gonna lock it. And when you go, if you're gonna use adobe draw, you'll take a picture of your, um, sketch, and it'll already create its own layer in, and then you'll create a new draw layer above it, and you don't need to lock the layer because the layers automatically lock based on which layer you have selected, and we'll go over that more when, um, I do the adobe draw segment. So you want to lock this and then create a layer to draw. And I usually renamed these, and I just haven't yet. You might just wash panel, clear out all your, um the the default colors that it comes with. It just makes working, but colors really difficult. If you have a bunch of extra colors in there, you're gonna want your transparency panel open. We're gonna be using that a lot. The basic tools is the your selection era, which is V as in Victor in your keyboard. Your direct selection arrow, which is the white arrow, which is a is an apple on your keyboard. We're going to use the blob brush, which is shifted Be again. That's if you're gonna draw. Arose is directly into Adobe Illustrator. Obviously, for using Adobe Draw, you'll use the one of the brushes and adobe draw. I'm going to use the in Adobe Illustrator will also use the shape builder tool to fill in our shapes. And, uh, zoom I use this a lot group being, um which is command G. We're gonna group are shapes at some point once we draw them. And those were the basics for now, as I as you watch it segment, I might add a few more tools or commands, and I'll go over those as we need them. But those are the basics for right now. So first we're going to get into color and picking, making sure that you pick a range of values and the colors. It doesn't matter what colors you pick. Sometimes I use unusual colors that you wouldn't necessarily find a nature for my roses, such as blues and greens for arose. But right now, for a and what, As I teach the basics of these roses, I'm gonna start with pinks but was important as tohave different values of the colors. So I have a highlight. A medium light, a dark light and an accent. What's important about thes is as we work with the shapes and thes different types of color values, it's going to create that vintage style that the block style painting or printing that they did on wallpaper in fact and fabric years ago. So it's important to have these different values and what order, um, use the men is going to vary. Michelle. You. I used him three different ways on Sometimes. I started with my medium light and then built using the next darker color, the accent and the my highlight. I did one rose where I started with this medium dark. And then I went to the medium light, the accent in the highlight and then I use did arose where I started with the accent color and worked backwards that way. So it's by having this variety of the contrast here really is important with the shape. So and then I also pick some colors here for the greens and again a medium color. And this is a medium light and accent in Having this variety is gonna work really well together. Don't you pick her colors and you don't have to commit to them cause I'm gonna show you had Teoh take a rose and really dramatically changed the look of it just with a few clicks of color changes. So, um, for now, this is just the basic and I'm just gonna show, you know, Lou, these since I miss like, these shapes his colors and I go on my swatch, um, panel already cleared out all the standard colors that came with illustrator and music. Click the folder and I'm gonna add that in there and that's it. So next, uh, segment, we're going to go over shapes and then we'll start putting colors and shapes together, and we're gonna have some beautiful roses. 3. Shape, Colo,r and Contoure: Okay, so before we get going really making these flowers we need to go over shapes in the shape is really important. Teoh, when get this look and to help to find a lot of pedals with very few shapes and lines. So because we're not doing watercolor orig, watch where we can blend and we can really, um, to find a lot of paddles were doing were mimicking the vintage block style printing where they would print one color at a time that you like Giants stamps and they would stamp on top of each other so this color would have been printed first, and then this medium pink color and then the light color in the most start color. So they stamp it on top of each other. So they had to be very specific on how they were gonna define all these paddles in these flowers because they're limited on color that can't blend. And and they had to be careful I and the lines and having to me lines together cause they can't start bleeding together. Um, with this, you know, kind of gets messy and muddle together with the style of printing. So this flowery here. I picked in my backyard, and it was the best. I had a the moment cause it's the middle of summer and the sun was already coming in and burning at some the paddles. So when I look at a flower for when I'm gonna draw it, I decide what lines and shapes I'm going to keep and what I'm going to redefine. So this right here is a little too crinkly. It doesn't look right. And so basically, this is what I drew from this. And then I made this flower, so I kind of redefined, um, this flower or this pedal right here and move this one out here and this kind of dip down to lows away. Can you curb that around? And then I think this was just too boxy over here, so I smooth this out. But I kept that peak. I added, actually some pedals and this is basically what is similar to what I got. Not quite, but I can actually make a whole another flower out of that, cause it's kind of hard to draw the exact same thing twice again. So that is how I kind of define it and Then when I go in, I even look at some of the inter paddles and the shapes that it's giving me. And use that to help define some of my panel's. I like this one to just kind of dips forward, and that doesn't look right. And that's not gonna look right if I try to draw it so. But if you look at the contract, the shadow here and so we're gonna look, it's not doing its kind of a curry line there more of these sharp kind of angles and points that define the contrast. It's not just these squiggly lines defining it, but, um, a little bit more kind of obvious and over exaggerated and not as many curves and squiggles to it. So something like that I could use to define some pedals. Or I could come in. And, um, do you want big shape and to find, actually, more than one pedal? But this one shape is gonna look funny. Just this one shape without me coming in and adding more shapes and other colors to help define that. This This is one pedal going out this way. This is another pedal going on this way in this way. There's another pedal over here in another one over here. But this one shape really does define help. Define a lot. So we're gonna go over here Teoh list of just basic shapes that I use. And I don't just use the shapes that used lots of shapes, but just these air, some common curves in shapes that you'll see often in these types of flowers. So something like this is just some arches. You can just bump up the thickness of your block dresses, just the blob brush. You can adjust the pressure of it to give it that very, very gated stroke. So something like this, uh, just a few little curves really defines a lot of pedals here, he said. It means a little bit. And then something like this. I got this deep line from the flower pictured my sample flower, but I want it the center of it's actually triangle on my picture. And it was just a little too much two angular. So it kind of smoothed out some of the, uh, the shape here and added some to it. So perhaps this is just not money to fill, so anyways, uh, just say that that's filled. And I often times the center of flour is very round and has, like, a bull shape to it. Something like this would help to find the center. This would be one of your dark accent pieces, Another beautifully dark or it would be kind of accent color. You can even add more to this to really define more pedals over here. And and then thes shapes here would go under this and obviously do these smaller than thes . But this shape would help defying this. These inner shapes I'm gonna grab. But it's medium tone right here, and I'm gonna just define this shades. Just these little sharp curves. Um really say a lot kind of. Let me know that there's paddles here. There's pedals here. And if I make this bigger group this one together, bring it on top. This really starts to help form the beginning of Rose thickened Simpson. You know, a few more these curves around and because kind of see why, um ju more you can see how is this really helps define a flower rose Say so this sin The pedals are coming. My friends center there's a lot more pedals going on here. And look at it. Just this. These kind of sharp curves in points here, I'm defined a lot. They're just They're implying that there's a lot of pedals. This goes down deep. This is higher because they wouldn't do this dark color right there. But this kind of gives you an idea. And then over here, we have thes contrast pieces, and their purpose is to help us find some more about pedals. Their smaller than what? I would make the pedals, But, um, they really to find a lot. So, you know, at this panel right there, this contrast piece right here, if I was to bring this over here kind of really helps to find this paddle right here. I'm at some highlights to it thes the shape this line right here. This curve on this point ups letting me know that the way the pedals maybe Kerr mean And so a lot of these, like this one, I would use this abuse. Defining these curves are Find a pedal that's going up here, so But, you know, there's one up here and down here, but this piece alone would look awkward without adding some accent. We're gonna get into accents here, but that will define in these again. These sharp points incurs. Let me know that there's the direction that pedals are moving in. So the actual pedals, um, Rimi the look bigger. Um, then your contrast pieces and I like to have wine. That's I'm really big. That's defining ah, lot of pedals. So this one right here is defining a pedal coming up here, another one here and another one here. But this piece alone, um, looks awkward without I mean, I dream these extra lines, but he had just this piece back here without the's acts. Contrast pieces in your accent. It kind of is looks like maybe a abstract butterfly sitting on a shape just shape. So when she start layer in these pieces So obviously this big piece here would be underneath contrast and then your accents and again, your accents here really help to find a lot. So when we get over here to you, um, are flowers again? This is this is a pedal pieces big, deep pink wine in this one as well. And then these would be some of my contrast pieces in these dark ones or my accents, Um, seen with the center would consider these accent pieces. Now, these highlights here are also accents or just little strokes that really define a lot. You can Amer highlight here, um, seem with these roses and I did thes uh, he's all the same colors, but I started in different orders for the different layers. Um, again, the biggest layer would be the one that would have been printed first. And that's how we're gonna work in order of how it will be printed. And then the next one would be the darker one, lighter one and then that contrasts. And same with this, it's this bigger piece that would been printed first. And then this, uh, medium light and then the lightest color. And in these dark pieces, and then here I didn't reverse into the darkest first. And then the medium light. And then this lightest piece are color. And then the I went over again with the accent, that darkest color. So that's where and I actually didn't even use, um, this medium light color. So this one only has three colors to the rose sometimes and when I make these roses will use three colors. Sometimes we'll use for and for rural abstract. Look, I'll use two, and I'm going to get into that another segment. But but this is basically what we're gonna work with, and so again, it's important. Not only Teoh work with this shapes and the lines, but also to have a nice range in your values of colors. We're also going to go into some really unique colors to in another segment. 4. Roses: Okay, We're gonna dive in, uh, starting to draw these roses. And I normally don't do all these different phases. When I draw my they come into my bring him into illustrator looking like this. I'm all do have several on a page, and I've gotten to the point where I don't need to do a lot of the shading in, but sometimes I will kind of lightly just draw some lines through areas just to signify to me that that area is gonna be a different color. Then the other area blocked in around it or in it. Um, when I first started working on this technique icy use color pencils to shade in the different areas to kind of give me to help separate them. You can do it that way. Or you could sketch it in like this or he can do to different stages, but obviously not add all the different blocking. And then each one I would just leave, um, each one off. Just do on lee the ones for each color in each section. But But we're going to start off just building the flour, and we're gonna use the blob brush, which is shift be on your keyboard. And I used this kind of light a medium light tone and I mean, zoom in here and with my law brush doesn't have to be super exact here, dry in my rose. And if you lived off, just make sure you reconnect. You're touching your line. It just kind of come around. I had a little extra curve there, and you can do that. Okay, so once that's all outlined here, I'm going to use the shape builder tool instead of using the pill bucket. Um, because if you use the fill, which has k on your keyboard, you still have to expand it cause that Phil is an effect. So by using the shape builder tool, you don't have to do that. And that is shift em on your keyboard and just drag your, um, cursor through it, and it's all filled in. So I'm gonna move this over to the next area, and I am going Teoh, reduce the transparency, and this is how I do it on adobe draw. Um, I just layer the colors and I just reduce the transparency down on each one so I can see my lines underneath and I'm gonna grab another color again. You're your lines. Air. Just a guy. You're tracing lines or just a guideline. Um, remember, you want your curves to be very dramatic in directional, signifying the direction of the flower. Now, right here I don't have my lines connecting, and I need to connect that. Otherwise, I'm not going to be able Teoh, Phil, creative fill into my flower Here is I'm just gonna picture that's filled in. So if you lift up, just make sure that you connect the lines. Otherwise, about Phil, Okay? And it's like that in Shift em on my keyboard. Grab the blob brush again that blob brushes shift B b is employ. And I'm gonna do these shapes here. This is creating a nice center into my flower. Um, fill this again. Select the line, make sure you're minus selected and you can tell by little anchor points or the bounding box and fill the line. And then to this other shape, these dramatic lines these curves are I mean, uh, signifying that there's some pedals, a lot of kind of movement you meet, and a tightly, uh, still unfolding up here something fill this shape in and this one and I'm gonna grab the lighter color and my blob brush again. And that is shift. Be for the blob brush and start working on these areas over here. Now, an adobe draw a minute when you outline a shape that's touching another shape another, even though it's another color like this right here. This is touching this color. I'd be able to fill this in, but in using the blob brush, I can't. So I have to connect these lines. Um, or it won't feel so It's a little bit different to paint on where you're working. Picture It's filled in here and slicked this. Okay, I'm gonna go over here now. What I could also do is I could have done this lighter color first and then add this darker color. This piece right here is gonna be lighter. And I could just come in back in and with the lighter color and go over this. So as you start doing these, you'll figure out different ways to do it. I kinda As I approach each flower, I kind of visually kind of dissect it, break it down into little increments and pieces, and that is actually the best way to draw. It's not so much focus on I'm drawing a paddle. I'm drawing a pedal. But if you focus on, I'm drawing this curve. This line, if you focus on the lines and the curves in the shape versus of I'm what you're exactly drying, you'll find that your drawing will get a lot better. So I that's what I look for when I draw. Okay, so I got that piece in, and I mean ad this over here and again because I'm not an adobe draw. I have to come back in and connect these lines again. These curves are giving direction in gesture. I'm the pedal Someone fill this in and that started. Look, Relig, it's I just had this one over here, and I may bring this over here. Now. I came really close down here, um, probably closer than this one. So I think who I might add, Some bring this, uh, accent over a little more. Uh, curve it up this way. I think it would look better and maybe even add a little more accent over here When I get down to this part over here. So we just this back out away, more section to go here. So the nice thing also about the blob brush if you touch the last color the color that you want to dio, um, you don't have to go back into your swatch panel, so I just have to hit shift B, and that color will already be loaded. Okay, grab this and fill. Okay. I mean, at these accent pieces, my made changes one down here a little bit. So this I did with the darkest color in my swatch panel here, I get nice dramatic curves, very obvious lines. Just fix this one right here. Good more. And now an adobe draw. Um, there's the variation on the brushes are much easier to work with. I think them in here an illustrator for this. Um, if I bumped up the size of these flowers, I could, um, the brush the blob. Russia will be a little bit easier to work with in terms of getting a variation on the stroke with. They didn't adobe drives. It's a lot more sensitive. It's a lot of time like this right here. I wouldn't even have to fill in I could just with the pressure of my apple pencil, would allow me just to do you two strokes like this. And it would give me a really nice thickness, but make this a little just thicker here. May it does. The blob brush gives you some, but it it's just more sensitive to me and the adobe draw. You get this filled in and someone changed this one down here, I'm gonna bring to keep this one like this. See, he was young nyse dramatic shapes on this one. I'm gonna come out here more and I'm gonna bring this one. Well, this way. Let's try this. We'll see how looks can always go back and fix it and a few more shapes over here. Just think in this lineup a little bit more. Okay, so here I added, um, highlights. So I made this one first, and then I was redrawing it. So here I took the lighter color and added some highlights here and on this one, I did the opposite. I did the darker color and I haven't gone in and added any highlights around the paddles and those are optional. Those It's as this is where you get artistic and creative and kind of really give your flowers. Um, the character, um, in the style that you're looking for some of my flowers that I do have a lot more shapes and lines and highlights. And Sam Merlotte, Mormon minimalistic. It just depends on the style. The look I'm going for. So, um, I like how, Like, I could even take this piece off and just leave it like that at some leaves and has a very different effect. A little more kind of a retro modern, uh, modernized. Look, this is a little bit more vintage style, so depends on how we're going to. Now, I could drastically change these colors, and that would really change the look of these flowers altogether. So I'm gonna before I add any more highlights or anything, I'm going Teoh, bring up the transparency on this, and I think I'm gonna add some of the darker color there. I think I kind of like that. Someone touched the darker color being Zoom in a little bit more. Such us loads that dark color right onto my blob brush. Oops. Hey, just kind of now I could do that on the top. I could also do it on the bottom, which adds more depth as well. So with your shapes in your highlights in your contrast in your accent colors, you can really alter the effect by where you place the's accent lines. Someone do it over here a swell, and then we can look at them side by side. So we have this one where I had a lot more highlights on. I did this one entirely in Adobe Draw, and you could do the same thing. These highlights here with your blob brush and Adobe illustrator. This one I did in a Don't here in Adobe Illustrator and I just started having these highlights and make a root of that one right here and again. I could have just kept going. I did a few over here. Um, I wanted this one a little bit more minimalistic, and this one I haven't done as many but added thes accent lines. I didn't finish the accent lines over here, but use a human started that some over here, but it's just as it's just a very different effect by where you place those lines. So there's a lot you can play with you take the same flower and change out a few the lines and it will look like a completely different flower. Change the colors. Um, you have them side by citing what he didn't know. Kind of maybe reverse the flower might reverse this one. My group at first using the reflect tool Woops and I just looked at over so that it's, uh, reflected. And if I I'm changed the colors that would completely look what looked like they were the exact same flowers, so there's a lot you can do there. 5. More Roses: so me demonstrate another rose here. But this one I originally started I had planned on to using four colors, but I only used three. And it's because of the order, the colors that I used it in All right, that I colored it in that it came out only three. And sometimes I intentionally do that and sometimes plan on one using three colors. But, um, I will change those colors. Show you how this could also work. As with four colors with the block brush, quick outline and just kind of go through, make sure you get roughly close. It's not to be super exact. Make sure my lines are connecting and shipped him case for not when it when you drag your you do the shape builder and it doesn't connect the mat means it doesn't feel somewhere. It is not, uh, the, uh where you lifted up. It's not connecting a found it right here. So you just wanna drag a draw the line through there with your blob brush, Make sure everything's connecting again. And let's try this again. There we go. So we have that and I'm gonna leave this dem off right now. can I bring that over and bring the transparency down? And I'm gonna grab this medium color right here. Yeah, it's the medium, the dark, medium color. And I'm going Teoh. And these lines in number, the dramatic curves in the direction of your curves indicates the direction of the pedals and that there are paddles. And then whether there's a lot or a few simple lines, simple but dramatic, mine's really make a difference. Someone is like this and feel that can appear and to the scene. It's real quick. And you see, my sketches are very loose right here. I think this last one I did for the day for us catching these out, I'm But I can make up for it when I come in here with the block brush and really and make the curves more exact in this piece. Okay? There's work here. Okay? Never again. It just gonna select this and I'm gonna moved it. Transparency back selectable moving over to the next one and bring that transparency back down. Who's okay? So now I'm gonna use the really like color I have here the highlight color and grab my blob brush again, which is shift B and start trying filling in these shapes. And another one here. Nice dramatic in directional curves and anything. Okay, that's it for this color. It's a minute. Bring up the transparency again and you can see how this looks. And then I'm gonna bring this like it all and drag it down. We're here. Bring that transparency down. Zoom in. And this is E on your keyboard. And if you pull down this way, brings it closer in the opposite way and use um meco. So now I'm going to get that darker color again, which is the accent color in. But she can faintly see the highlight color in there. Nice directional curves. And then I want to re here and added some these highlights coming out of these paddles Zoom in here could see on my keyboard a zoom in. And there it's a little bit more of a dramatic line. More direction, more gesture. Um, with that line there, and then I'm gonna go into my center here. Yeah. Look, this piece actually meant I rotated a little bit, and okay, so I'm gonna grab me accent color here, and I don't want to go off this lines. So they're gonna draw this and I'll just move the piece over, said Somewhere in top. My center. Remember all these lines? They give an indication of the pedals. Direction curves. Onda. How the roses opening up. So it's Phyllis in and me do this one and then we'll move them. It's a nice, obvious herbs here. It's like this and fill it and I think it gets okay. So I added some accent pieces here, and this is with the light color there, but I think I'm gonna do it in the darker color on this one. So, makers, it's sometimes those new paddles look, um, on the darker side anyway, so bring that town Remiss, opacity, transparency Back up and see. This could be moved down just a little bit there, and that's looking really good. So and then here I added some this room a little bit. Some highlights, more accent highlights, but it again, look, it just have a different effect. These two flowers are even with, um, you know, the different, uh, accent pieces in different places. This one doesn't have these extra highlights. So can really again change the effect of your of the outcome of the look that you're gonna achieve just by adding or not adding various lines and accent in highlights. So I'm gonna now I'm turned this one into a four color rose. I'm just make a copy either really quick. And just beside this over, Hold down the old key to make that copy hand just moving up. Sit side by side. Here, grab it all. So I mean, do is make sure you have selected their Okay, So what I could do right here, Just taking this back piece and changing it to the one color I left off. And now it has four colors. Um, where this one only has three. And look at how different? Um, drastically different. These two flowers look so it again, the addition or subtraction of shapes and highlights and contrast the, uh, whether you go for three colors or four colors can really alter the look and outcome. How the characteristics of the flowers. So I think they look both look great, and they both have a very, very drastically different look to me. 6. Buds: Okay, so it's time to draw some rose buds because roses start office. But it's nice to add some rose buds in an arrangement. It was I'm gonna grab color over here. Not really sure how Describe this shape, but, um, it's super just awkward. Um, it's not quite closed here. Make sure his clothes and again rules, but they're super forgiving here. So real quick again. I want to be real dramatic and 7. Leaves: okay, Are flowers or Rosa's need leaves? Leaves are important. All flowers have leaves. And so we're gonna draw few. And the same principle applies on I do. You look at, um, take pictures of the leaves as much as I take pictures of roses, but, um, who believes they're pretty easy to draw? Um, pretty consistent. But the same rules are gonna play. We're gonna use a variety of colors and shape to create that, um, contrary in effect, to define on the leaves a little bit better. So I'm gonna grab, um, my three colors down here and leaves. I'll dio ah. 2 to 3 colors. Usually, Uh, doesn't I usually do my, uh, uh, bigger leaves, three colors and my smaller kind of groupings of leaves in, uh, just one or two colors. Just keep it really easy. Simple. Just because if you create a lot of detail in all your leaves, then it kind of overpowers your flowers. So I leave. Add more detail to my bigger leaves and then keep these little ones pretty simple. So just grab, um, going to do this all of color here and zoom in real quick. So can't Same rule applies to do that and just handle some curves and some points here, um, you fill this in and reduce my transparency down and grab the next color. So I think I'm gonna go with this lighter green and at some definition again, very dramatic and obvious Curves and angles and coming around need up with this other line . And then I can just like this piece right here. I reduced the transparency and and when I add, grab it all of color again and I'm gonna I kind of had a cut out here. It's gonna look like it's cut out. Let's just see how this all works together. So says the mice definition, um can move this down a little bit. Um, kind of lets me know it. The leaves kind of crinkling and turning, and I mean reduced this transparency down and we'll add some accent color here. Uh, go to my swatches. Magreb, this dark green must see how this looks. You're much juror like that. So we're not going to reduce my transparency down as much or reduce it down at all and then move this over. Um, because I feel like this is where maybe this stem would be coming out. It's my grab this darker green again, this accent color. And we define this. So I think that's well too thick. And I could have this kind of go, uh, take this off. Thea, I do believe here, but that add some nice, um, at the stem. And I'm just gonna add a little bit over to some of the edges here can to find that a little bit part. Okay, so it looks nice. And do this leave. Oops. Ah, they may grab the lighter color, and it's reduced this transparency down and again. We're going to go in and add some shapes here. Um, So you used this lighter colors and I grabbed the olive color here and feel that then, uh, change the transparency on this so I can see what's going underneath with this over a little bit. Okay, grab this accent color. Miss licked all this and see how that looks. I think I'm gonna add some so contouring up here. It's of accent. 10 years. Well, to find a little bit more, I was looking nice. So again, the same rule would apply for all these Emma, do these little accent leaves down here? So basically, um, is pick a color. Things do this light color, so something I want to draw. And that's not the color. I keep these really simple cause you're gonna want a lot of these kind of little filler leaves, and then I just use whatever color that I'm using first M. It's not always my accent color. Sometimes I'll use it, you and darker color. And I just bring them in coming off of this stem and all the a lot of lots of clusters of these all around. So I'll make quite a bit of leaves and then group them together when she make any of these flowers Anything you want, a group it together. Otherwise, you're gonna separate the colors. So, um, if you can't group this way without selecting something that use Q on your keyboards, you can get your lasso tool circle around and then command G. And you grew up. Now how the whole thing moves and then I can select this one group that together my group this stick together 8. Fun With Color: Okay, This is my favorite part is play with colors. So sometimes I to draw something in pinks or whatever color. And I decided I just gonna take the design and a totally different direction. This is where I change and play with the color. I don't use the global color changing tool. I find that kind of time consuming and a little frustrating. I like to be more direct and deliberate when I change colors. So basically, what I do is I make sure the object is completely group, and I always make a copy of it. So I can always refer back Teoh. Even if it's a subtle color change, I can always refer back to my original, uh, I want to see which one I like better. So once it's grouped, um, I double click. I want to bring in tow isolation mode, because the way we're going to slut colors. If I don't have in isolation mode, it's gonna change the color everything on my art board, and I don't want to do that. So when you double click on it, you'll know you're in isolation mode with this box kind of going around and everything else has kind of faded out. And then I will use my direct selection era, which is this white arrow, uh, in your toolbox. Or use a and you're keep RC can tell you that you have it cause it's white and said I click on a color and, um, just start changing the colors on this one before it changes. Actually, I'm gonna select end, make sure I have everything that that color is selected. So I'm gonna go up to select sames feel color. And I know this is one piece, but I just want to make sure so everything that is this color in this flowers selected, and I am going to change it to this kind of peachy pink color. And then I moved to this one next. So selected this, and I can get rid of that might hide my anchor points cause it's kind of blocking action will get his detail block a lot of the color like, because I kind of I see what's going on. So that's command H. Now they've all disappeared and oops, miss like this and sucked everything that that's color and I'm going to just make sure things selected. So height those. So that was select. And then I selected everything sane. And she is that little darker color That looks really nice. And I wanna change in any other colors. Uh, maybe not get some pretty dramatic color changes on the board already. So this is the same rose? A little bit different color, little warmer tones. Uh, this one here. I played with a lot of the oranges and the reds and browns in the blues, and I get really dramatic over here. So these two are the same and, um, just out of the blues and this is a pale pink is a real kind of modern retro look. Same with this one. When you start adding the leaves, I'm really starts to you. Um, change the look even more. This leaves a little bit too big for this flower on top. And sometimes I like Teoh. Change out the leaves and two more nontraditional colors when we make a copy. Grisly first, and take this. Um, just a minute. Group this together cause I want to see what these colors really look like together. And bring this in isolation mode and go for something kind of on the dramatic side. Just that one color already really changed this look a lot. And then even by my background colors that back you can So that's a shift command left bracket arrow to send the back so I can really play around with it. Really the look even more by changing out the background colors so and try this dark blue Uh, it's bright green. It's try seems to close and color our lives We can really change even add more change and alter what you're doing by just the color your background color as well. So just that one color change in this league really alter this flowers get rid of this background. You just kind of see it without that. Um, even here, uh, I mean, look at how dramatically different thes two flowers are the red and the blue. Um, imagine arrangement with lots, little buds and leaves. And let's play with the color of this. Okay, stem So delicious play with some color changes here. Go back to her swash panel and from you find something a little bit more dramatic here. It's a little too close to wreck contour. Highlight. That's kind of different getting to some different colors. Um, maybe changing out this color here, and I'm not selecting the same cause. I like that one piece selected, but I could have absolutely had two strokes on here, so I should have used the select the same, but, um, even take the screen color. It's now I'm gonna use this like the same. Make sure I have of pieces selected. Yeah, at some accent there. So that looks even different To think this piece now. I'm not I don't I'm not an isolation mode. And this is still group, but by using my direct arrow, I can still collect just this one piece. If I used my, uh, black arrow, which is the selection tool, I would select the whole object. So again, if you use your even when you're not in isolation mode, you can always use your direct selection arrow just to select. I can't even move that one piece. And even by moving it, it is still group together. Put that back here and and we'll let more dramatic with that. But looks good as a very kind of modernize retro look. So again have been playing with colors, and you can always make sure you make a copy of your flowers. You can always go back to what you originally had and just have fun with that with that leaves and everything. 9. Adobe Draw: Okay. I'm in my iPad pro in Adobe draw and already have a background color and some other colors picked there on its own layer. So I'm going to cook the plus, sign an image layer and take a photo. And I'm just gonna hover my iPad over my sketch and snapped that picture and then use photo at the bottom right hand corner of the picture and that will load the image directly in its own layer. And I'm just gonna resize that by using two fingers and pinching and Repin reposition it on my iPad hit down when I'm finished and that colors air in its own layer and then over to the left. We have the brushes, and we also need to add a draw layer, and that's just hit the plus up here on the top and hit draw layer. You'll note which layer Iran based on the orange box going around it, and I like to use the very top brush for this technique. It just seems to work really well and so I'm gonna use that top brush and pick a color by using the the circle in the bottom. Just gonna click on that and that will bring up this little eye dropper. And when I hover over a color, uh, the top ring of it will turn the color that I want. Now I know that I've selected it. Based on the top part of the color of the bottom part of the circle will be the previous color. It was like the color I want. It was zoom in again, used two fingers just to spread outer in to zoom in and out. And I'm gonna reduce my brush size down all away by clicking the top circle and moving it downward. And same rules apply as we did with in Doughy Illustrator. But But since we don't have the shape building tool we're going Teoh, once this is completely outline and all lines are connected, we're gonna hold our apple pencil down in the center of the flower or anywhere in the middle of it, and I hold it down until it changes color just like that, you would get it a little empty bucket sign. If that your lines weren't connected, Click on your layer and reduce the opacity down and then just click off of it anywhere on your screen and pick a new color and then just start adding new colors again against same rules. Apply I as we did in Adobe Illustrator, layering one color at a time and filling it again just by holding down in the center of the you're outlined to fill in that color okay, against same rules apply. I'm not going to spend a lot of time going in every detail of this flower. I'm just filling in everything all the highlights and the accent colors to get the same effect I usually like. I say, usually do these roses in my iPad. It's just I'm on my desktop computer so much so it's nice to sit in a different chair and, uh, work somewhere else. Or if I'm gonna go with my kids and I'm gonna dio the same rose but which is two colors and it could be a little bit more abstract. So again I'm an outline just like we did. And then once it's all the lines are connected, hold down in the center until it's filled. Outstanding, Mr Line. There, there we go. And we reduced the opacity down and I'm gonna pick a another contrast in color and hover over the color that I want until it selected. And I'm gonna up the size of my brush just a little bit so I can get it. With the applied pressure, the variation of the high pressure I can alter my variation of the stroke. You gotta get more, um, out lined chorus, stylized line by very my pressure. I alter the the thickness of the line and just kind of wavered a little bit Make is a really nice, um, stylized look. You can this look and go modern. It can go vintage retro based on the colors and how you make the arrangements and what you group it with. But it really has a nice effect, especially if you are working on a brief where you have very limited colors or limited amount of colors that you can work with. So this is really nice remembering up the opacity. An iPad, it's opacity and adobe and the illustrator its transparency, but they're basically the same thing, and I'm going to create a new layer underneath it, too. Do the leaves draw the leaves and you pick up a different color again until the tops part of the circles changed. I know I'm on the color I want, and I'm just gonna draw those. Since I'm on a separate layer underneath, it's not going to bother my rose. Fill that in and grab that same outline. And there you have it. So I just to send this to my desktop, I just go to the very top where the little box with the arrow pointing up is, and I'll click on that and click on the very top things that Adobe and I always work in Illustrator. And I send that to just click on the Adobe Illustrator and it will send it directly to my dust top, and I can start working with it and making a nice arrangement. 10. Wrap Up: So here is my art board. Where is working with, um, flowers that and made for the class making my cover photos. And basically I just changed the colors on a lot of them and alter the size is kind of reflect Some thea other direction rotated their things. The angle that they were position on to make this cover photo and I a lot of followed colors and just making this look really unique. Um, so and then also for the lettering. If you like to, uh, this lettering, I do offer a class, um that teaches the style of lettering or how to make your own letters. And then you could make your own words and phrases and illustrate them with all kinds of unique, um, flowers or whatever. So for your assignment, um, studies some flowers for all the mail and either work in adobe drawer adobe illustrator and again work with those exaggerated curves and angles and those but simplistic shapes to fill this unique style of roses and then really explore color, come up with something that isn't maybe normally found in nature, like blues are lavenders or purples may make your flowers unique and stylized that reflects your style. So I hope you had a lot of fun with this class, and I hope you learned a lot. And thanks for watching.