How to Draw Flowers in Photoshop CC | Starla Martineer | Skillshare

How to Draw Flowers in Photoshop CC

Starla Martineer

How to Draw Flowers in Photoshop CC

Starla Martineer

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6 Lessons (32m)
    • 1. Introduction

      1:36
    • 2. Making Custom Brushes

      11:02
    • 3. Observing and Sketching

      3:18
    • 4. Refining Your Lines

      7:32
    • 5. Colouring

      7:50
    • 6. Your Project

      0:48
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About This Class

Drawing flowers can seem like a daunting task. They look intricate and filled with complex shapes. But what if I told you there's a way to see past this and draw beautiful flowers without all the stress?

In this class I'll be going over the basics of drawing in Photoshop with a focus on florals. I'll walk you through my process for creating custom brushes, sketching, stylising, and colouring drawings to help you create beautiful finished works. So let's get started! 

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Meet Your Teacher

Hi! My name is Starla and I'm currently a design and illustration student.

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Transcripts

1. Introduction: Hi, My name is Stella, and I'm a design and illustration student from Australia. And in this cause, I'm gonna show you how to create beautiful drawings. Inferno shop. I'm going to teach you how to drop the stylized flowers and pass on some techniques that you can apply to almost anything you want to draw. In the future, I'll be walking you through how to create to custom textured brushes for sketching and clean lines and also teaching your my persons for sketching lie not and coloring This class is great for beginnings because I'm going to cover the basics of storing and you don't need any prior knowledge to join in for the class project. I want you to pick your favorite flower and draw in, color it in photo shop, using what you've learned through this class and show your process and final outcomes in the Project gallery. I believe in learning through experimenting. So what if any point during this process, you feel that you want to use different techniques toe what I've shown, I'll just try something near I fully encourage you to do so. If you're feeling up front, you could even draw multiple flowers, experimenting with different styles that you want to try. Although this is not a requirement. Through this class, you'll be improving your ability to observe and sketch florals, and you should be able to apply the techniques you've learned to many other Turing's in the future, So let's get started. 2. Making Custom Brushes: Okay, so what you can do before you start during anything is makesem custom brushes. This will help give your drawing Samore hand made kind of feel, help them feel a little bit less static and digital By putting some texture into a nice brush and trying to imitate I kind of think quality. So I just got some in ca textures that I found online. I'll put a link to those in the project description, but I've just dropped them into my photo shop document. I just made a brand new document. It doesn't really matter what size a za, long as it's reasonably lodge. I just did a regular, a four kind of sheet and then a waitress fight. So if you hold shift while you resize image, it means that it will stay, uh, proportionate. It will stay correctly scaled as opposed to not holding a shift. You can kind of stretch it and make it too fat and then and it'll go wonky. And then, if you want, you can hold Ault at the same time a shift. And that means that it will move at the same time in proportion from a center point. So Now that we have our image in here, we want to go to this the last year tool. And we're just going to take a little section. You can take one from anywhere. Quiet. Look how this I quite like Sorry how this area looks. I might make Russia Oh, like that. It really doesn't have to be a neat selection. I'm just thinking a good area, something with a lot of texture, a little bit of variants, you know, it's got a lot of areas and it's Dr Areas. Little kind of just give you a brush a little bit more depth, I guess. So. Once you have a selection, you want to go to edit and then define brush precinct and we can just call, you can just keep it as, like sampled brush number one. And if you go into the brush tab, it will be all the way down the bottom down him. Sorry, Now we can kind of just controls it. Um, if you hold control, Bolt said, you can go back more than one step at a time, so that's really helpful. We also want to keep a brand new layer so that we can draw on it if we go on, select that brush. No, you're right. Now we just have a stamp off selection. So now we want to go into brush settings, and this is where we're going to take this brush from being like a stamp and a really under sick, ugly, kind of looking just dragged stamp texture into being an actual brush. So we want to go to brush tip shape 10. This spacing all the way down told Month. So the spacing is exactly what it says it is. You can see in the little preview of the bottom. So if you have a long if you have a large amount of spacing, it means that you hear there's a lot of space between things, so you don't want any space or as little as possible. And that means that you have a nice, smooth, clean line. Then we're gonna go to shape dynamics and flip the X and Y. This will give you a little bit more texture, and then we want to take the angle, jitter and turn it up a little bit, and this you can see on a little preview screen. This is making the brush rounded. So as you can see without any angle, Jenna, it's got quite a lot of variants between, like the thickness and the thinness of its down strokes and stuff. So we wanna up that angle Judah like 17 15. Whatever looks best for you, and that just means that it's kind of the same, which the whole way, which means that it looks more like an ink pen. Sometimes having that variants is what you really want. But for something way, we're gonna be doing line work and sketching and things like that. I find having a consistent wit is always a lot better. And then we're going to go up to size Jenna and set it to Penn Pressure. If it's not already, and that's pretty self explanatory, it just means that the size of your pen is now determined by how hot you are. Pressing your stylists all your pen. So then we wanna go hurry into scattered, and we want to turn up the count a little bit, not very much. But as you can see down in the preview, this makes the brush on the mall like dense Sorry. Here we go let me make this person well, smaller. Thank you, sir. If we go from a count of one to something with account off 16 as you can see up in the count makes it a lot smoother. It's a lot denser. There's a lot left texture, so you didn't leave it at one if you want, but I'm in a turn mine up a little bit. Uh, yet the tour is good, so I just hadn't run up a little bit because we don't want this brush toe look to out there and messy. It's needs to be quite clean. Still, that just needs to be a little bit of texture. So speaking off texture, we're going to go in him and go down to gray scale paper and just import lose patents in and then select one of the Patton's, Whichever one you want. Really. Just play around with it and see which one you like the most full wanted full. But we're going to come and decrease the depth so that you can actually see the texture coming through the brush. So if you can see in this preview again, that's just how much of the texture is showing Tharu you want to have a quite longer so that the brush is a little bit rough. Umm, but you can really play around with it. You don't want anything so you don't want something like this where it's like Cerpa tive dry looking. You want to keep it a little bit more dense, but really, it's all just a personal preference. If you drew on something more dry looking, if that's the aesthetic that you're going for, feel free to use it. I'm just setting this up. How I like to have a brush for when I'm doing fine work and then come play around with the brightness a little bit and that will again determine how much of the texture shares through. So yeah, I quite like when I have going on here. Um, because it's not like it doesn't have too much texture shining through its nice clean, but it's still quite obvious that it's not just a plain round like hod brush. So once you have something you happy lives, you want to come over to this little hamburger menu and select new brush preset and then rename it in a coal mine in pen because that's essentially what we've just made. And then if you go back into your brush menu, it will be right down here. So now you have a brush that's great for line. Not It's nice and textured, but it's still quite clean. If you want, you can come back into your settings and play around with the texture and stuff. And, um, like change which texture you years maybe turned down the brightness turned down. The brightness may be turned down the depth as well, and you can make a pen that's a lot better for sketching. So when you're sketching, you're gonna want something that's a little bit Lisha, something that's got a little bit more space in it, something a lot more textured so that it doesn't feel as permanent will want not on the page, something that really gives you this sense that you can kind of play around with it. Layer it up. So really, making your own brushes is all about personal preference. Just play around with it, keep adjusting things constantly and seeing I want you prefer the look off. I think I like these settings is a variation. This I'm just gonna call this one ink pen. So now I've got my ink pen, which is gonna be great for finished line like and then I have my second ink pen, which is gonna be a lot better off sketching because it's a lot more texture. So once you've played around a bit and come up with some brushes that you're happy with, jump into the next class and we can start going over how to start your sketches. 3. Observing and Sketching: all drawings Stop with the sketch, but not everything you draw has to come straight off the top of your head. A reference is a great tool for drawing, no matter what your subject matter is to put it simply, unless you've drawn something so many times that you haven't memorized, there's a good chance that you'll need a reference. And that's not a bad thing at all. Before you start a sketch, go and find a reference image of your favorite flower. Look for something with good lighting and quality so that you can see the definition of each pedal. I'm using this image of avian E, which I will attach to the Project Gallery if you wish to draw the same foul with me. Way showed a upload your reference image into your project as well. The next thing to do is open up a near Photoshopped document. I post a lot of my artworks on Instagram, sir, I usually work with a 10 80 by 10 80 pixel square, and that's what I'm using for this during a swell. Once you have your document ready, dropping your reference and resize it to the size you want your drawing to pay. You can always change this later, so I don't feel like anything is true permanent at this stage. Once again, holding down the shift in shows that you're scaling things proportionately without squishing or stretching them and holding all and shift means that your image scales proportionately towards its centre point. Once you're happy with the image placement, turn the capacity down so that you can draw over the top of the image, create a new layer and select the brush that you've just made for sketching. You'll want your brush to be a little small and possibly even use a grey instead of a black . Now, when you look at a flower, try not to think of it as small details straight away, like each individual pedal. Instead, look for the base shapes that make it up. For example, in this pne, I can see that it is formed of circles, so I'm going to sketch those out on top of the image. Now that I know the shape of the flower, I'm going to go in and place the pedals. I'm keeping my lines sketchy and loose because this is simply about getting toe understand the way that peddles a placed. You can follow the reference image as closely as you like here. And if you're more familiar with the flower that you're drawing, you could even try hiding your reference Leah completely and during the pedals. Without it, because I'm quite unfamiliar with happy any pedals work, I'm going to fall in my reference closely. But that's OK, because over the next few steps will be taking this sketch and developing the shapes further meaning that once we're there, I'll find out image will not look like a copy of our reference. This method of breaking objects and details down into the arboreal shapes is a great way to start drawings that you want to make look proportionally correct. No matter what the subject matter is, once you have you with the way that peddles look, it's time to move on and stop or finding your lines 4. Refining Your Lines: So now that you have a rough sketch of your flower, it's time to start cleaning up those lines. Drop the capacity of the sketch down toe whatever is comfortable for you and make a second layer on top using the exact same brush setting. We're going to start going over our original sketch with some more purposeful lines. If you want, you can adjust the smoothing percentage of the brush tool, meaning that your lines will have less shakiness and the look more controlled in the second sketch, which is going to clean up the shapes that we have marked out. Don't worry too much about any details of the Mormon like unevenness of pedals or any texture you may want to add. This step is just about refining the shape of the flower. While doing this. Try not to look at the reference image. It all form the final drawing purely around your original sketch and adjust things as you see fit. If you can't seem to make something work, or if you think something looks awful, really out of place, you can check your reference. Just don't depend on it. This is your chance to take artistic freedom of the peace and make it your horn. If there's something that you don't like, change it. Do some experimenting in this step. Add an extra pedal to a space that might feel empty removed one from somewhere that looks true, clustered. Maybe change the angles and positioning of the leaves play around making things smaller or Lodja and changing shapes where you find it necessary. The beauty of during digitally is the freedom to make these changes and see how they look. Without consequence. You can just change them back to the original sketch. If you don't think that they work, it's okay if you don't make any drastic changes. Just remember that you can often a happy with this clean sketch, it's time to drop the capacity down and hide the original rough sketch. Leia. We're going to make 1/3 layer for our final line leg and then pick an appropriate brush. I've just used the custom brush that I made earlier in this course, but if you don't want your final outline to have that much texture, you could just use, Ah, hot round brush preset. If you want you drawing to be more delicate, use a small a brush size, or if you want it to appear more bold and cartoonish, use a thick of brush. You may not wanna have an outline on your finished piece at all, in which case I would recommend still doing this step. But don't worry about making it as perfect and use it as a guide for your coloring. Once you've decided what to use, it's time to trace you clean sketch and add some smaller details. I'm using a highest moving percentage on my brush, though that looks nice and neat. You don't have to. This is just a personal preference. I know from my reference image that pani pedals have a crinkly, uneven edge. And this is where I'm going at this. I'm going to try and keep it subtle by just using riddled lines and not worrying too much about the individual shapes of the bumps and just letting it happen. How it feels, the marsh natural to my hand. Notice how I'm not wriggling the line all the way down. However, by smoothing it out with a pedal start and end, it keeps it feeling a little more natural. Unrealistic. Try drawing your lines in one stroke. This will take some getting used to, but it will help you line like look more consistent and much cleaner. Once you finish your line on and before you color your piece, just walk away. For a little go, make a cup of tea, get yourself a snack or just do something else for 10 minutes and give yourself a break. This lets you come back to the drawing with a clear head and see any mistakes that you may have made or allow you to realize that something that was bothering you before actually looks fine. When you work on a piece from start to finish, it's easy to get caught up in small sections off it and think of it as individual details instead of a whole drawer. Taking a small break to refresh your mind before coloring the peace can make it much easier to spot mistakes that might become a hassle to fix otherwise. And it's generally a good practice to get into once you're happy with your during stop the next class and we'll go over some simple ways to work with coloring 5. Colouring: the next step is to apply color and shading. Coloring is a big part of style. Izing your work, how you choose to add color and shade to a jury, or whether you choose to use no color at all, is just a simp. Orton's during the lines, and there are many, many ways to do it. You could use a technique called cell shading, which is where you use flat colors to simulate highlights and shadows in a drawing object. Cel shading is most often used on three D models to make them look more cartoonish, but it's also a common style for things like Anna Mae's manga. It's easier and faster to achieve than other blended methods. To achieve this, you'll need to fill your drawing with a base color and at a flat layer of highlight or darker color. Depending on a light souls, you can use more than three colors in cell shading to give deeper shadows or brighter highlights if you want. But with something as delicate as a flower, I would avoid doing too many and going our board because this will make the pace look cluttered. Another way to shade is to use what Eichel's Ruth shaping. This is where you use a soft brush and pick in between colors to help blend from one color to another. To do this, you need to lay down your base color and shade and highlight first and then use the eyedropper tool to pick up colors in between them and help make the blend appear softer. Using in between colors can help make a piece feel on one natural when it's done correctly , and while it may be time consuming, the more you practice it, the easier it will become. You could also try shading with capacity, which is where you build up a color ingredient slowly using a lower rapacity brush. This could be achieved by turning down the rapacity, setting on any brush, all by choosing to use a brush pressure for passage. This method can also take a while to get that thing off, but it can produce a very seamless appearing blend once you give it some time. You also use in between colors to help you blend more through this technique. If you feel it necessary, just play around and see what works best with you in each of these methods. I often use a very simplified form of associating from my works and generally work from the principle that the inside pedals a deeper in color on the outside, as opposed to shading from a singular light source When choosing your own style. Birth full line not and color. It's a good idea to look closely at your favorite artists and how they achieve their own style. Go to Pinterest or instagram and start a collection of out that you love and study your favorites. What type of shading is style? Did they use? How thick of their lines? How did they use texture? Find the methods that you like the most visually and play around with replicating them. Don't copy their artworks, just mimic their style and see what works best for you. Don't worry about using one consistent Ott style for all of your drawings and doing everything the exact same way. The more that you play around with different new things, the quicker that you'll be able to find something that works well, figure, and eventually your urn style will develop. - Once you're finished coloring, the piece is done. I like toe. Once you're finished coloring the pieces done. I like to add a college in my background that contrasts well with colors I've used in the drawing. And then that's it. Something. Exploit your drawing. Simply export your drawing as a PNG file and you're ready to guard since the export your during is a PNG file and you're ready to guard simply export European simply export. Your drawing is a PNG file, and then you're ready to go and then you're ready to guard and then you're ready to guard. Simply export your during as a paean. Jew fell and then you're ready to guard when you're ready to go. Yeah, yeah, that's good. 6. Your Project: So congratulations on finishing this class. If you've been following along, now is the time to post your beautiful during zin the project gallery. And if not, I hope that you're feeling inspired and ready to draw for the cost project. I encourage you to include all your sketches as well as your final image. Because it's a really fun way to see the progress of your drawing and how your initial forms have changed throughout the process. Thank you so much for watching. I hope you had fun and I can't wait to see all your amazing works.