Fake a Watercolor Part 1 - Illustrator Brushes and Composition | Delores Naskrent | Skillshare

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Fake a Watercolor Part 1 - Illustrator Brushes and Composition

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

7 Lessons (44m)
    • 1. Intro Fake a Watercolor Part 1 Vector Brushes

    • 2. Lesson 1 Making Simple Brushes

    • 3. Lesson 2 Advanced Brush Creation

    • 4. Lesson 3 Creating the Composition

    • 5. Lesson 4 Layering and Finessing

    • 6. Lesson 5 The Pattern Brush Made Easy

    • 7. Lesson 6 Closing Thoughts

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About This Class

Who knew you could fake a watercolor? This course will show you how! The course has 2 parts: Part 1 is in Illustrator, where you learn all about creating Illustrator brushes. You will use these brushes to produce an amazing composition. Next you will take this composition into Photoshop, in Part 2, where you will apply all the finishing touches to make it look like a real watercolor! If you are into art licensing, you can learn this process to help you produce large artworks in bulk or a series in a fraction of the time it would take to paint it using natural media. This course is for intermediate Illustrator and Photoshop users, though everything is explained in a step-by-step way that any graphic designer can follow. The skills you learn will reinforce all you know about Illustrator brushes while giving you a unique and practical purpose. Take a deep dive into the fine art world and produce a fabulous artwork in the process!

The verbal guidance and demonstrations will help you learn all the necessary core skills that can be applied to so many of your future designs. Whether you are new to design, or a fully qualified licensed artist, learning these skills be pivotal in your art licensing adventure! Imagine the time you will save!

In this class we will go through specific concepts in 6 lessons that cover:

  • Creating simple Illustrator brushes
  • Creating advanced pattern brushes in illustrator
  • Composing a striking composition
  • Layering and finessing your design

 You will get the bonus of…

  • direction from an instructor who has been in the graphic design and art licensing business for over 40 years as well as being a certified teacher for 30 years
  • a resource list of helpful online sites to further your education into design.

Course Synopsis:

Lesson 1

In this lesson, you will learn the basics of creating a custom Illustrator art brush.

 Lesson 2

Advanced brush creation will be our challenge in this lesson filled with plenty of tips and tricks.

Lesson 3

We will focus on the composition in this lesson. Various approaches for composing the pattern are discussed.

Lesson 4

As we continue working on the composition, you will learn various techniques including the creation of a scatter brush for finishing and finessing your layout.

Lesson 5

Intricate deckle-edged brush design is the focus of this lesson with plenty of wisdom thrown in!

Lesson 6

This lesson is all about preparing for Part 2 of this course, which will be done in Illustrator!



Meet Your Teacher

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Delores Naskrent

Creative Explorer


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Patton, Trends, Metaverse, Evergreen and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this... See full profile

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1. Intro Fake a Watercolor Part 1 Vector Brushes: Oh, creative explorers. My name is Dolores. NASCAR it I've been a graphic artist, illustrator, surface pattern designer and art educator for over 40 years. I know, right? I'm super excited to share this new technique with you. I've got a two part series, the first part of the Siri's takes anti illustrator, where you're going to create a bunch of vector brushes. You're going to use these brushes to create a fabulous vector layout the example. I uses a succulent garden, but you can really produce anything that your heart desires. Here are some examples of the kind of work that I've done with these brushes. These techniques are great for surface pattern design as well. The great thing about them is that you control every aspect. Whether you use illustrator or for the shop to create your final layouts is up to you. But these techniques are definitely transferrable to any sort of surface pattern design project that you choose. Part two of the series takes you into photo shop. You're gonna take the Leo that you created and import it. You're gonna apply a bunch of different effects to it, and by the end of it, you're gonna be able to create this great finished artwork that mimics a true watercolor. The great part about it. It can be done really quickly. And you can produce a whole Siris for your art licensing purposes. I hope you signed up for both of the classes. I'm sure you're gonna get a lot out of it. Are you ready to get started with this? I sure am. Let's go into lesson one into illustrator, where you're going to create the first brush. 2. Lesson 1 Making Simple Brushes: be there. Welcome back. We're ready to start Lesson one. In this lesson, you're going to learn the basics of creating an art brush. I have a bunch of tips and tricks as you go through this part of the course. So let's get started. So this is lesson one. And in lesson one, we're going to focus on creating simple vector brushes that you've been using your competition. First thing I'm gonna do is open up a new document. You can create a in half by 11 or whatever you think you're going to need. Now, Once I have the new blank page, I'm ready to get started. Making my brush is so when I'm making brushes for a project like this, I like to create a huge variety, As you can see here with my brush libraries, I've got tons of Russia to choose from. This is just a blank and open brush library. These are just default opened with the program. So I'm gonna show you just how easy it is to create the brush. I'm going to use the Ellipse tool, and I'm gonna just pull out a kind of elongated ellipse. I'm gonna have no stroke on it, which I control over here in the tools palette. I'm going to fill it with block and then what I want is to make a basic leaf shape. I would take my anchor point tool. It's found here as one of the options with the pen tool, and I'm just going to simply click into the endpoints of my ellipse to give it kind of a leaf shape. I'm gonna grab one of these anchor points and hold the shift key and just pull it out a little bit longer. So it really does look like a leaf shape. We're gonna create the brush. This is literally how easy it is to Dio. I've got the shape and grab it and I drag it into the palate and it's gonna ask me whether I wanted Arte brush or scatter brush. And what we want for this project is an art brush that's just click here on Arte Brush like Okay, I'm greeted with this arch brush options palette. So here I can patrol a bunch of different things, whether I want to fix with which I do, what proportion I want it based on the original, that I drew, and but it may be scaled back to about 60% now. This is completely controllable. After you create the brush, you can get back into this palette, so I'll show you that in a bit. I'm gonna leave it here at stretch to fit stroke length, which is how I want it to behave. I can leave the direction, drawing it in thin to thick proportion. I can change it to be thin to thick proportion based on the original shape that I drew. I'll leave it at that. For now. Let's bring a little bit more about that. As we see the effect of that choice for colorization, we really don't need to change it. We could keep it at Black. I personally change it too tense because I may use this brush differently at some point, and I may want to colorize it, and it just stays me the times going back and doing it later. So as you can see when I use my breast tool, it's applying the brush that I created the length of line that I've drawn. They could see how quick is to create a leaf just with that one brush profile. I want to show you what would happen if I go in. And I changed some of the settings. Remember, we had to set it 60%. And let's say I wanted to change it. 40%. I've got preview checked here, so it's gonna show me right on screen exactly how the change of effective two big things like size. Now, if I scaled proportionately, you can't see much of a difference here with this particular brush. This can affect other brush profiles. So that's something you could experiment with. I'm gonna click. OK, now, one of the things I showed you was the tents. And what the tint setting will do is allow you to take the stroke and apply a different color to it. Okay, I'm gonna create a few other quick profiles here. I just use the plus key to add a couple of little points here. Gonna do that on both sides. Used my threat, select to rule and no, just likely distort it. I wanted to still be a leaf shape, but I wanted to be a little bit more rounded. Bring this one down a little bit more and I'm gonna use my rectangle tool to add them to it . So at the moment I've got to shape gonna use my path, find your panel it and I'm gonna use the unite. Make them all into one little shape, enlarge a little bit so you can see it here. Right now, it's two shapes overlapping Unite makes them into 11 Shape Another quick way to unite two shapes. You can use the shape builder tool that's foamed over here in the tool panel. Either method works. It's really a matter of personal choice. You simply grab the shape builder tool, come over to your image and drag over all the parts. You'll see it kind of form a raid over top of it for a pattern. And that pattern shows you what pieces are being added. If you ever want to subtract a piece, just hold the option key and you can get rid of peace. So I'm gonna take that and write that into my palate Arte brush. They okay, I'm going to scale it down to 70% and want to stretch to fit the stroke. So I've got another nice little leave shape. Let me show you how that one looks used my paintbrush draw line, and that makes a really lovely leave shape. And you notice if the stroke is shorter, belief scales proportionately. So that's the basics of creating a brush. Before we end this lesson, I'd like to take a quick minute to remind you about the editing of the brushes. So if I wanted to change any of the settings for a particular brush, which is double click on it, that takes me into the options palette. And now it could make any of the adjustments I want, including naming the brush. Now, remember that this particular brush library that we created is not gonna be available the next time we open a document unless we save it. So where to go back into brushes? Palette? Here. When I hit the Save Brush library or we could hit this key at the bottom, that's exact same thing. And I'm going to save the brushes, the desktop, and I'm gonna call it Succulence five. Well, the next time I open a document, you can see that the brushes we created are not here. So what I would do so I would go to open brush library onto other library. Go to my desktop, find my brushes file, does what it looks like in your window at the moment, then click open. And now the entire library that we created is here. Take the time to create a bunch of crazy brushes. You'll be surprised how useful they'll be when you start your project. Great job, guys. Now you've got this great brush library to work with for the next lesson. What we're gonna do is we're gonna focus on creating more complex rush shapes, got brushes with inner details, outer details on then I've got some edge brushes that I've created. This will give us some leaves with a little bit more details. 3. Lesson 2 Advanced Brush Creation: you guys. Welcome back. We're in less than two now and in lesson to we're gonna do some advanced techniques in creating the brushes. You're gonna create some of these brushes that have interior details and exterior details. There's gonna be a bunch of tips and tricks that I throw in along the way. Thanks for hanging in there. Hope you enjoy this lesson. So now we're getting into some slightly more advanced techniques in making our brushes where to start with this particular brush here. This brush uses all of techniques I taught you in the previous lesson. So we're gonna start with a noble I know. I want it filled with black. I'm gonna go straight into the swatches here. And she was black, So l is a short cut for the Ellipse tool. Gonna draw nice ellipse here. Going to grab the rectangle tool shortcut for that is M on your keyboard. That I'm gonna draw these spikes using the pen tool and P is a shortcut for the pen tool. I'm gonna switch into preview mode so you can see what I'm doing here. Based on the other one Command, why eggs you into preview mode? and I'm just going to draw these quick sprites. They're going to be overlapping with the oval, so I don't have to be drawing the actual oval itself is kind of a bonus. I'm simply clicking at the beginning of the spike. Looking at the point, I mean, back down, King clicking again to put a point on it. Just moving, too. The next spot where I want it. And again, Just doing some quick clicks. When I get to the end point, you see that my cursor turns into a little circle. Let's take a look at this out of the preview bulge. So, command, why get you out of preview again? And at this point, you could make any little adjustments that you want. Okay, That's what I want there. And now I'm gonna add these interior circles for the detail. So the shortcut, remember for ellipse is l holding my shift key. Well, I click and drag fill it with white holding the shift keeps it is a perfect circle, doing bigger ones in the inside part. And I'm gonna do some little tiny ones around the edges. So this is a very stylized cactus leaf. So I wanted to show you a quickly to add a little bit of distortion. I did hear this changes it from being perfectly straight, nonorganic lines to a nice organic line that looks a little bit more hand drawn. They're gonna select both of these going to the Pathfinder palette and unite them. And I'm gonna go under effect to distort and transform. And I'm gonna go to Ruffin gonna put these really low because I know this is a very small brush at the moment it preview. It's a little bit rougher than I want, so I'm gonna even reduce that more, and I want it to be smooth. I wonder if I could put 0.5 year. I guess I can. So I tried 0.3, and that's kind of a more natural looking edge. Now you can see here that the appearance has not been expanded, so I've got them both selected, and I'm gonna go under object to expand appearance. Now, the path actually aligns to distortion that I created. Let me take this little her down a little bit, and I'm now going to select the spikes as well Asi oval and unite. Those have got a completely united shape here. So, as he recall now, all we have to do is select the entire brush ragged into the brushes, palettes like art brush. And okay, I won't change any of the options. Now. We could wait until we're ready to use the brush. And I'm gonna get rid of these two because I'm going to show you how to make this one. So the interesting thing about this one is that I've used a brush that I can apply pressure to my stylist and alter. This is one breast stroke. With just the basic leaf shape that we originally designed, I've been able to get this sort of in effect. So I'm going to start stand by just drawing a noble and a rectangle. And the rectangle tool is m on your keyboard. So you can very quickly do this without even going to the menus. Use l and draw my oval first. No stroke filled with black. And as you can see, there are two places I can go and change the color. I can go away over here to the color palette or right up here in the options bar. Press them on my keyboard, and I've got the rectangle going to combine these two in Pathfinder. And then I'm going to apply that filter just a little bit distorted. Now, as you can see, the appearance hasn't been expanded here. So before I do anything else, I'm going to go to object, expand appearance just so that I could make the little direction here on this distortion. So I'm going to use the minus key, and I'm going to get rid of that. So now this is the shape that I have it be on my keyboard, Teoh, switch to my brush and I'm gonna go to my brushes, palette and shoes. This little arte brush that we created earlier, right now what? I'm going to demonstrate in the art brush options. This particular setting here I had it on fixed. But this time I'm gonna change it to pressure. Now, with the pressure, I could decide what control I want. Your that will affect the way the stroke draws. I'm just doing experiments. This is what I strongly suggest you do too. Is this experiment with the settings first and see what kind of effect it has hit. Okay, here this is asking me if I want to change the stroke. I'm just gonna hit leave through. And so now my settings on my brush Allow me, Teoh, apply different types of pressure to create different effects. So at the very beginning of this trope, I'm not pressing really hard. And then when I do press hard, it gets thicker. So this creates a pedal that looks very much like what you see in a Christmas cactus. So I'm gonna add a bunch of petals onto this cactus here, like pressure, heavy pressure, light pressure, heavy pressure. Remember that once you've drawn the actual pedals, you can go in and just easily grab the path and change its shape. You'll note that as you move these points you affect the edges of the profile is gonna speed up the finishing of this art brush. Here, you'll see me do all the same things as they did before. And I just wanted to x plane another step that I do here, which is simplification reducing the amount of anchor points. So I've selected my finished shape. The finished shape has all of shape overlapping and united and I go under object to path and simplify. The settings I have here are pretty good already, but I'm going to tweak it a little bit. What? I want to do it. Have a few points as possible while still maintaining shape. I have here once I have the settings the way like click. Ok, so I'm taking the simplified shape now. And dragon get into my brushes palette and I'm finishing this off the way we've done all the other ones. So I've shown you quite a few ways to create brushes. Why don't you take the time right now to create a couple brushes of your own? The next lesson what I'm gonna dio is take you through the process of creating composition . Remember that If you've got any questions to post them, the answers I give you could help countless other people with the same problem. This is the part I consider the most fun. So I'll see you next lesson 4. Lesson 3 Creating the Composition: you guys, welcome back. So you've created all of your brushes. And now for the fun part. I love this part. This is where you get to take all the brushes you've created and create a nice composition . My composition is of a succulent garden. If you just take a few minutes to watch this whole video through, you'll get an idea of how you can go about controlling your brushes and what you need to do to create this kind of layout. Lets get started for the composition. For this particular style of art work that we're doing, I like to completely fill the image area. We have silhouette to the plants that I'm going to be filling with water color so you can probably recognize a couple of the brushes that we created here. I will walk you through any of the challenges that come up while making this actual layout . One of the things that I didn't point out and I'm going Teoh talk about during this video is these white releases that I have between plants. I'll explain the necessity for those when we get to that point, so one of things I really like having at my disposal is brushes that I can use a stem created three here, three profiles and I'm gonna just do the brush strokes so you could see what they look like . So I've got three here that I've organized from thick to see and they have slightly different profile. But this is the thinnest. The news is medium thickness. And lastly, the perfect one got each of them set up so that the lighter I pressed with my stylist, the thinner the line and the heavier oppressed with my stylist, the thicker the line, this one here I can go very, very lightly and very, very heavily and changed the profile. I was gonna get rid of those and I'm going to start with I think, the medium profile and I'm going to create an artwork that looks somewhat like this at the moment of better work on the plant that has all of the little leaves. You'll remember that little leaf brush. So I wanted Teoh do that one first. Remember how the direction could be affected from picked a thin or thin to thick. Now, one of the things I want to show you in the brush palette here in a way to see which way your line is actually being growing or affected. You can see here. I've got these with a thin profile on the left and the thick profile on the right. And I'm going to change the direction of that because I like drawing from talk to bottom. As you could see, you could easily get in and make the changes. Once you're using, the brush is slightly thinned. It draw 15 branches. You could look at that one again. See how many branches I had. Yes, I had that one very close to the talks. So that's what I'm gonna do. You get close to talk here now, Once I've got that drawn, I can move in to put some leaves on. And I think I'm going to use this one that we created in the previous lesson. Now, this is one of those that I have a stem actually on it already. So let's go through and just add some of the to it. Now you can see that the longer I make the line, the bigger belief iss I can quickly, by the way, I draw. I can quickly have different sizes. I kind of like that for for this particular style of brush anyways, So I'd say this one, this plant will end up looking a little bit like a bit of a fantasy J tree. I always have my fingers poised over the undue keys liking quickly. Undo one that I don't like. It was really nice that the stem just blends right into the original stem I drew. Still, there is one little tree already completed that took me all of the remaining to do so the next one I want to switch to you is one of the leaves. We didn't create this in class, but it's a very easy leave to create. And it's kind of Ah, long, flat leaf. I've seen lots of succulents that look like this and that brush. You don't have it loaded here, going to my succulents brush library. Think it's this one here going to drag that into my regular brushes palette similar, But I dragged out in his well because sometimes I use a combination that look alike that I can combine and so that all the leaves don't look two identical. Look at that plant again. I had one long stem in the middle, and then a bunch of the small ones coming off of that. So let's do a long stem. You know, try maybe a little thicker. One. Okay. My brush. See the direction here? We have to go through. Look on my brushes. Anyway, A few goals Well, again, you could see how quick this would be based on the profile of the brush. And you could see that if I pull longer brushstroke, I get a completely different look, which is great, because I don't want them to be identical. Now we've got another plant. Okay, so for this next plant, I am going to produce a look similar to this one here. So I've got a brush created that will give this effect. And this one is one of the quickest ones I can do. This is the brush. And if you've ever seen this particular kind of cactus, this is how it grows. Now I can go in and affect the thickness of this by selecting it. Let's let the entire thing and going into the line control palette, the stroke control and I can just increase the weight by changing this thickness here currently said at one point. There it is a two points, a little thick, so remember to try 1.25 and like that, maybe the top believe it. That and the bottom part I'm going to do at the 1.5. And while that was a very quick one to produce, I believe it for now, and we may go out of detail later on notice. I'm trying to get up to the top edges as much as possible. The next one. Let's try using this particular brush profile that I've created. You look at it basically, what it was with a solid block shade, and I put some white spikes into it and added some flak spike on the outside. So that is this profile here just to cactus profiles right beside each other. And even the five is perfect. I don't even have to go in and change that a little bit shorter, a little bit higher for taller. So that went to, what, 20 seconds, 10 seconds very quick. Yeah, this one here, This is a brush that has a bunch of inner circles on it. We did one similar to this in the previous lesson. So a little bit of spikes, a few interior details that produced that one. I could literally just draw one to fill this particular space here again. Remember that you can go in and effective size here. Try maybe one point to be perfect through wanted here, draw a little bit differently. A little bit of an angle changes the look of it. Let's check that rush to I want to see if I've got I can change it to pressure controls. So that will allow me to press a little bit harder or a little bit softer to get different backs. And so I'm gonna go from 54% to 200%. Depending on we're close to 200 depending on how hard I press press really hard. I can get a nice big leaf, and pressing lightly gives me a small leaf. I'm gonna do a big one and then a smaller attached to it. Do the same thing here pressing a little bit harder. So they look similar to definitely go together. But they're different enough that they don't look like they've been drawn with the same brush. Yeah, let's produce something like this next. So for that I use that brush. It looks quite a bit like a paddle of it. Pretty securely toll and not see a couple of leaves will try this leaf. This is one of those brushes that I could affect by pressure, and it had a couple of little flowers on the top. I created these little flower rushes that's just at a couple of little ones to drag it into the brushes palette in order to make changes. And I want to be able to pull downwards on my strokes. So what changed that and pulling down could create the little flowers super quickly. I haven't showed you these profile brushes, so let's try using one of these edge profiles, and this will be a shape it'll create. And then I'll fill. Grab that. When there draw the shape. I want thes spiky bits to be on the outside, so I'm going to double click on this brush and I'm going to flip it, apply it, and then, for this one course it's a path, and what I want to do is I'm gonna fill it with black. So over here, Phillip Black and there's another method off giving some texture on the outside of your cap tie and fill it with black. Pretty sure that's how I created this brush here. So he looked really similar. I think of this planet here will put from little leaves this one here we have used make you move it bigger. You could see how quickly and easily you can go in and adjust the brush at the point where you're using it. Yeah, I'm, like, feel better really getting here. Which of these precious have not used? Well, think of use this one. So maybe we'll have a couple of those tour Leo, I think that was this one here. Now what I often do with ease is that I create another complete layer that when I'm doing my final composition, I can use and have a background to this particular composition. So it's a two part sort of layout going to show you what happens when there is a plant like this in the foreground. And so the next lesson will focus on adding the plants in the foreground. I have a bunch of tips and tricks as you go through this part of the course, so let's get started 5. Lesson 4 Layering and Finessing: Hey, guys, welcome back. So this lesson is going to talk a little bit about advanced techniques When you're creating your composition, we're gonna talk a little bit about layering and some of the tips and tricks that I use along the way to control my brushes, etcetera. Let's get into it. I'm gonna focus on layering the plants so you'll have some plants in the foreground, and we'll do that with a white release around the edges. And we use the puppet work tool to reshape some of the plants so they work better with our layout. So let's take a close look at this plant in the foreground. Here you'll notice that there's a white release so that this plant stands out in front of the other plants. The importance of this will become evident when we get into the photo shop lessons. So I'm going to draw a plant that ends up in front of some of the ones that we've already got. I'm gonna fill this area up here on the screen, but the stem of it is going to come down and overlap these other plants here. So what I'm going to do is I'm going to but show you here in the layers palette. Everything is on this one layer, layer one. I'm gonna get a new layer, and I'm going to draw on that layer. Though I wanna lock this layer, but nothing ends up on it on. I'm not gonna create on this one here. If you watch this area as I am working on here, you'll see that the new items I create are going on to layer to I'm going to draw that stem and a couple of branches. I guess now this kicking going then to fix, I'm drawing in the office direction in Crete, you little branches and you can see that these air also going to overlap other parts of my earlier composition about to hear that kind of related. So I'm going to use this is an alternate. So all of these don't end up exactly the same. I want to make a little bit more room in here with this one. That's where it take the time to do a little bit of the correcting to and then making movies to over a little bit. I think I'm going to get rid of this one here. I don't like how it works with my composition would make this one a little bit larger. Another thing I want to do with this final layout is to do some adjustments on the shape of the plant, like this plant to come into the image area a little bit more, and I'm going to use this great new feature called Puppet Work. Couple work has been available for a long time in photo shop, and I always use it. Showed me I love it. So I was delighted to see it become one of the new tools you're in. L traitor. You can act if it right here in the tool panel couple work lets you twist and distort parts of your artwork. It creates that transformation in a really natural way. You could add Morgan's by clicking the areas you want to transform her anchor any three or more pins to really make it work. If you need to delete a pin, just press a delete key. Now you could just click or drag transform the artwork, the adjoining hymns, all the nearby areas intact. If you need to twist the artwork, select the pin and then position the cursor near it on over it. When the dotted line appears dragged to visually rotate the mash. You'll notice that while you're working with the puppet work tool, there are different controls that come up in the control panel at the top, you can select all the pins you can show the mesh, maybe just experiment with ease to see how they all work. I love that Just so easy. This one here, I think, just needs a little bit of TLC. Be here. I'll keep it stable. And here. And I think I'm gonna use this point to give it a little bit of a curve. Something a little this one over a little bit, too. Isn't that easy? Can you imagine doing this all the weight you used to have to with illustrator moving individual points or moving sections at Digital of this, I could use this oldie. Thats one here. Also give it a little bit of curve stabilising the top of the bottom. And then I'm gonna use this one to pull the image and a little bit. I can use these individual leaves as well. Oh, I'm gonna just this one a little bit wild. So cool. I haven't actually buying this one. Do that first. I think I got it all here. Object! Ban Appearance. Pathfinder, Unite! Now I can use my public work. You will have a few areas here, Take him in. Anchors there and comes going to you. Just try first. Pulling the stem down, straightening it out into that space there, and they would pull this good. Pull these a whole bit. I think I'm gonna move this one together as a whole. Welcome to this corner. Princeling backed down and instead, pull this one up a little bit. So much freedom. So much I could do to improve my composition before I move on, I'm going to expand and combine the whole plant here and appearance. I really need a shortcut for that. And puppet warp again. Stabilize here, though New. I haven't made a shortcut for it yet that here you put work to move this leaf down. That'll give me a little bit more room to do something in here. This is actually worth a little bit. You go back to clear here and I'm going to have another little branch to this one here. and I think on this one here, I want to add something. What we shape for work actually use that one There I am going to stand appear informant, go in real close. I'm going to just simplify this shape. I just this one a little bit. So it matches the other one's a bit more felt taking off some of the points. I don't want e think that matches well enough, so I'm going to select those and combined them into one shape. All right, well, I'm pretty satisfied with how this composition looked at this time. May be selected all and slightly reduced the width of it. I'm ready to move on to the next stage now. So take this. This will become the vector mask that we use in our Photoshopped documents. 6. Lesson 5 The Pattern Brush Made Easy: Hey there. Welcome back. So we've made it to the final lesson. Hey, I'm as excited as you are, believe me. So we have one step left, and that's to produce our textured edge To give our vector a little bit more of a natural feel. I've left the pattern brush toe last because it's actually the hardest one to produce of all the different brushes. But I have a step by step method that I use. And if you use this method, you should be able to create the pattern brush without a hitch. If you want to entirely skipped this lesson, I've actually included This brush is one of the resource is and you're welcome to use it. Either way, let me know how it goes, Ready to get started. Let's get to it. So the very last thing we want to do with our illustrator document is to add a natural looking edge like this edge here. We're gonna create that edge and I want to show you why and how we do it. I just want to take a second to save. I call it fake watercolor because we do our best to simulate the way a really watercolor behaves. So a natural watercolor has this sort of an edge. And what I want to do is I want to copy that edge and use it on the edge of all of my vectors. This will give it a more natural looking edge. So I copied his section of it. I think this is the section that copied here. And then I created a new document, and I paste it in that watercolor edge that I had borrowed from the other one. I went under image to mode and changed it to gray scale. Also copied half of it and flipped it horizontally. So both of these ends are identical. Now I'm going to copy that. Gonna go into illustrator and in Illustrator. I'm going to haste as soon as I paste a bit map into Illustrator. I met with these controls up here, which are the image trays controls. Now I'm going to open up my image trace palette so you can get a better look at what I'm doing here. You can find it under window. If it's not in your side panel here. I usually happen in my side panel, but I don't at the moment. And this is the image trace dialog box that comes up as soon as I hit Demonstrates at the top here. It traced out my bit map. You can see here it's straight, black and white, which I don't want, though I want to change it here to gray scale It instantly traces Based on what I've got here in my settings, I've got preview checked. If it was unchecked, it wouldn't show me all of this information here. Basically, what you want to do is you want to take a look and watch very carefully the amount of anchors that you're creating down here. Keeping the anchor count low is really important in this case because you're gonna be using this to outline all of your plants, and that is going to be a lot of anchor points. I'm just going to show you what would happen if I changed these adjustments. So if I went really high on the paths, you can see that I would have a lot of anchor points. Now that's way too many. It's going to bog down my illustrator and maybe even crash it, so I'm going to be settling for about 50% here. This is the one that seems to affect the amount of the anchor points the most. I'm gonna keep it a boat a little bit lower than middle, and that's keeping my count fairly low. You may think this looks very, very victory still, and you're kind of right. But this path is gonna be so small, really. It'll still give us the effect that we want. I'm pretty happy with that. I'm going to hit expand here. So I've got my perfectly trace segment that I'm gonna use for my edge path. I'm going to do a series of things now to make sure that this as a brush won't leave any gaps and that it matches up perfectly on all the curved lines. In order to do that, the first thing I'm gonna do is copy it and reflect it. So I grabbed my reflect tool. I'm going to auction click right here at the end. What I want do you hear is making copy. That's preview this and that's exactly what I wanted to do. So now I've made an exact duplicate and it should be lined up absolutely perfectly, and it ISS. What I want to do is join these two sections together, so I'm selecting wherever they touch. And actually, lucky for me, it's only this black area that touches. I don't have to mess around with a whole bunch of different areas. And what I'm gonna do is go to Pathfinder and I'm gonna unite those. And I think I'm just gonna get rid of this little straight point and have a nice little Kurt point. I think that looks a little bit more natural. Take a look at it here. That's one continuous segment this and matches perfectly with that end. Another really important thing to do is to make sure that the end caps that I create for the pattern brush are at the highest point on this pattern here. So you can see here that I've got a dip at the end here and I needed to match up with that for cinnamon. To do is I'm going to make some guides to help me and to keep it lined up to the highest point. So I'm gonna put a ruler guide right here. It snaps right to the highest point. See, there's an anchor point right about here, I think, Yes. So that's a very high point there. So I'm going to bring in a ruler guide right there as well. So what I want to do is I want to cut off this whole end, and I'm gonna do that with the rectangle tool, and we're gonna do the same thing on this side. So I'm gonna draw a ruler guide here is well, and have it snapped right there. Okay, So the easiest way to eliminate both of these end points right now is to use a rectangle. Been a user rectangle with no Phil, I'm gonna draw from guide to guide I've got snapping on. So it snaps automatically to those guides to set your snapping. You do that down here, so I am snapping it two point. So this is the one I would choose. Snapped a point, and I already got it set. So you want to show you where? So I'm gonna select everything I have here again. Back in my Pathfinder, I'm gonna choose divide, so I'm just gonna use this one end cap here. I've eliminated the one on the other side, so I've cleared this area of the end cap. And what I'm gonna do here is basically what I did with the whole path before with reflecting holding down my option key. I'm sure that I have selected the entire that it pass here on the end cap, and I'm going to use my reflect to again exactly the way I did before hit. Copy. And so what I've got here is exactly the same high point which will match perfectly to the other side. Pathfinder. I'm gonna unite all of these separate parts here. Don't need to worry about this Stark agreeing here because they don't touch. And now I know that this high point and this high point match perfectly, I think I'm gonna scale this down a little bit. So again I'm selecting the whole thing, and I'm just going to let it a little bit tighter. So this will be a universal encamp that will fit on both sides to connect the longer portion of line. The last thing I want to do is check the scale of this line based on a one point line. So I'm gonna go into my brushes, grab the basic line and draught, make sure It's a one point line in block just so I can test this out. And I want this line to match this one in in weight. So I select everything here, will down my shift key so that everything deuces fortunately and I've resized it so that weight wise, it's very similar to a one point line. So, no, I'm ready to build my brush, this one. So before I build this into a brush and want to make sure that all of this extra stuff is gone, review it. And now I'm going to select this entire end cap. Sure, I have all the parts. I'm holding down my option key to make sure everything is included. I'm going to drag that into the swatches palette. I know this is gonna work for both of my end caps, so I just need the one and now I'm gonna delete it. And now we're ready to build the pattern brush. So now I select the remaining segment, and I'm gonna drag this into the brushes palette. This time I'm gonna choose pattern brush. Look, okay. And this is a completely different dialogue box. And what you saw when you were building the art brush. So what we're gonna do here is we're going to pick an outer corner tile. We're gonna let that be auto drawn. So we're choosing auto between this one. Same thing. We're gonna let it be auto drawn and then this the end caps. We know we've got this universal and count. We can put that for both the beginning and the end. Believe this is stretched to fit. Fix scale Here. We could still change this to tense if we wanted to. And okay, and we see our new brush here. Let's give that a little bit of a test run. Gonna draw a path by my brush. Works perfectly for a straight line. Let's try a shape on a rectangle. Works perfectly. And now let's try it on an organic shape on draw random shape holding down my option key at the end to make sure that this closes. And great, it works absolutely beautifully. I'm going to select that now, Poppy. It is the fastest way for me to bring the brush into my my final victor Li out. I'm going to paste it now, and that's the fastest way to add it. to my palette so I could get rid of that little one that I have in there. Is this exciting? Now it's time to try it out. I'm going to select all accused, my brush. It takes a few seconds to process that pattern because we've got so many during points in there. But, as you can see, it worked way now, have a much more natural looking edge to our better. So now this lesson is complete and we're ready to move on to the finishing and financing. 7. Lesson 6 Closing Thoughts: Hey, guys, Thanks so much for hanging in and doing this course with me. I hope you've really enjoyed it. Now you can use this Leo as is. I have submitted this for art licensing just in black and white with another layer in behind in Great. And it has sold. So it's something that you can you can stop right now and you've got something perfectly salable if you want to take part to part Two of this course is the photo shop part where you're gonna learn how to take this layout and produce a mock watercolor. Yes, fake watercolor. Who knew? And using my technique, you're gonna be able to create this great finished artwork that mimics a true watercolor. I really hope that you can use this technique to I call it fake watercolor. But because we do our best to simulate the way a really watercolor behaves with this technique, you can produce Leo. It's relatively quickly and apply the effects and you'll have a whole Siri's that you can use for our licensing purposes. I really encourage you to take part two of this course, and that's the Photoshopped part. What we'll do in that courses, take your final vector layout. And at all of the great watercolor details are really hope to see you there. If you got a minute right now, can you endorse my course? Give it a thumbs up. Tell me how it went and post your projects. I would absolutely love to see how it works out. I'm just hoping that all my information has been complete enough. And that from this you can go on and do the photo shop segment and come up with an absolutely fabulous piece of art. So by now and hope to see you in part two. Have an awesome day.