Jungle Fever Negative Painting Advanced Layering Methods in Procreate & Free Brushes & Doc Set-Up | Delores Naskrent | Skillshare

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Jungle Fever Negative Painting Advanced Layering Methods in Procreate & Free Brushes & Doc Set-Up

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

9 Lessons (1h 17m)
    • 1. Intro Jungle Fever Brushes and Advanced Layering Techniques

      2:10
    • 2. Overview and Inspiration

      6:29
    • 3. Creating and Embellishing a Brush

      13:40
    • 4. Master Document Set Up

      7:50
    • 5. Color Theory and Reference Gathering

      7:58
    • 6. Advanced Layering and Selection Methods

      12:29
    • 7. Composition and Layout Ideas

      11:30
    • 8. Polishing the Design and Adding Text

      12:16
    • 9. Outro

      2:45
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7

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About This Class

Have you ever wondered if it is possible to create a layered, negative space, realistic watercolour in Procreate? This class, Jungle Fever Advanced Layering & Brush Methods in Procreate, will show you that it is truly possible, even if it involves some tricky selections. Tricky, but not impossible. I explain it very thoroughly, and I have discovered that it opens up many new possibilities for my design work. Negative painting techniques are so amazing, and create such depth, that you have to try them! I will teach you my layered illustration methodology, tied into the use of brushes to create a layout efficiently. I show you amazing ways to spruce up your brushes too (I just couldn’t help myself). Brush stamps speed up the process, but this can be done without any brush stamps at all. As always, I include a bunch of free brushes and a master document that we use throughout the process to add a lot of interest and make our process as efficient as possible. In the class, I take you from start to finish in creating the full illustration with all the bells and whistles, including many textures and adding text. Making complex selections is the focus of the class, but I do break it down thoroughly to make sure you fully understand. I am already planning a great follow up class!

In this class I’ll walk you through:

  • my step-by-step method for making selections
  • tips for creating compositions using brush stamps
  • my workflow for use of layers
  • adjusting and combining layer selections to complete the layering necessary
  • negative painting techniques
  • methods for keeping the art fully editable for later adjustments and recoloring 

 

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If you’re looking for new techniques and you have a good basic knowledge of Procreate, you’ll be able to go through all the steps. This class will benefit anyone who wishes to create negative paintings and to improve efficiency with making selections for any purpose.

The key concepts I will include:

  • making simple and complex selections
  • layering to create depth
  • unique approaches in your creative work

I really think you will be blown away by the cool things you can do with layer selections. Learning new Procreate techniques is always a step in the right direction. I guarantee you will create something really appealing, and it’s so much fun, once you get the hang of it! Make sure you watch for the follow-up class, Negative Space Forest!

Intro to: Jungle Fever Advanced Layering & Brush Methods in Procreate

This short intro will give you an overview of the class as well as a bunch of inspirational examples. I will show you a quick clip of the class project example.

Lesson 1: Discussing the Overview and Objectives

In this lesson, I will show you the objectives for class and explain the merits of the technique I use. I walk you through the beginning of planning.

Lesson 2: Creating and Embellishing a Brush

In this lesson, I will break down the complete process of creating your own custom brushes. I show you everything from creating the source file, adding embellishments, or filling and adding details, and finally, to importing it into the brush studio and finally adjusting settings.

Lesson 3: The Master Document Set-up

In this lesson, I will explain the use of the master document I have provided. This document makes it easy to add a ton of interest and texture, and it can be used in so many different ways.

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Lesson 4: Color Theory and Reference Gathering

This is the lesson in which I teach you some color theory as we finalize our color palette for the project. I also show you a few key methods for creating palettes. Then we will gather reference for the project and put it into our reference panel. At this point, we are ready to start illustrating.

Lesson 5: Advanced Layering and Selection Methods

We start getting to the selections and masks in this lesson that will help us to create both the layering and depth. I explain the negative painting technique. You will see me use several different mask combinations to create the effects. I will also show you the texture brushes I have created, and I explain the settings. Throughout the process you learn much more about selection methods.

Lesson 6: Composition and Layout Ideas

At this stage, we pull our layout together, and I will correct the small details that make it work. I show you a bunch of different ways to add color and texture to the top leaves and make many other small adjustments. We take a quick look at color adjustments and talk about next steps. This will give you so many ideas and will show you just how versatile this technique can be and how valuable experimentation is in your development as a designer.

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Lesson 7: Polishing the Design & Adding Lettering

This is the last lesson and in it I give you a bunch of new ideas for finishing touches and we will finally add the text. I will also show you how to re-crop your canvas and add a border all around. I talk about the follow-up class and another new technique you will learn in that one.

Lesson 8: Outro, Mockups and Wrap Up

In this quick wrap-up, I will show you a couple of quick mock-ups that I whipped up. I also give you a few ideas for next steps.

Concepts covered:

Concepts covered include but are not limited to Procreate pattern design, Procreate layouts with brushes, layering, transparency, Procreate brush stamps, making selections, inverting selections, Procreate canvas settings, Procreate snapping and guides, gathering reference and the reference panel in Procreate, Procreate brush creation and embellishing, art licensing, creating original brush stamps in Procreate, the Brush Studio in Procreate, adjusting Procreate brushes, sizing of documents and brushes, compositions with brush stamps, adding texture brush stamps, procreate brushes for adding interest, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending, and much more.

You will get the bonus of…

  • 1 hour of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • a list of helpful online sites to further your education into design

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer

Teacher


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, and 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, Trends, Metaverse 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 art for pattern design, greet... See full profile

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Transcripts

1. Intro Jungle Fever Brushes and Advanced Layering Techniques: Hi guys and welcome. My name is Dolores now it's crazy. I'm coming to you from sunny, Manitoba, Canada. We've actually had a gorgeous fall. The colors are great here right now. And the temperatures is supposed to be really high up and to 30s, I guess this week. So yeah, it's going to be a gorgeous one. So the class and bringing you this week also features brush making. I know, I know you're probably thinking, what else could she possibly teach me about brush making? Her last five classes have been on brush making. Well, I actually do happen, you idea. And I really want to share this one with you because I've been having a ton of fun with it. I'm gonna be showing you some techniques that you can use with a lot of your brushes. You can probably go back and adapt this to any of the brushes you have created in my classes. Then we're going to use these new brushes to create a really cool composition. I've called this one Jungle Fever because it really is all about the layering. We're going to have so many leaves and branches in this thing, it isn't even funny. So one of the things that I found when I was creating this was that it was really easy if I created a base document and that base document could be repeated or duplicated for making the consecutive ones. And I found that using this technique, I was able to background's really quickly and easily. So it's a little bit different than the classes that I have had with the watercolor backgrounds. We've created a really specific background for that. This one is going to be a little bit different, but it still gives you that whole watercolor lock that we love so much. Now I've got a lot of stuff I want to cover in this class. So if this sounds like something you'd be really interested in doing, Let's get started. Oh, before we do, don't forget to hit the Follow button up there. That way you'll get all of the information I send out is usually just once a week. I publish usually once a week if I can, at least at this point. So if you hit the follow button and you'll get all the information that I send out. All right, that's it. Let's get started. 2. Overview and Inspiration: Hi guys, welcome to Lesson 1. As always, I want to start the class with a bunch of inspiration. I'm going to give you an overview of this class as we go through this lesson. Let's get started. I've showed you this board before. It's my leaves and trees illustrated and photographed. You've gotta see there's a lot more illustration than photograph. And I remember we looked at this art here before and some of this kind of textural art. And I remember that when I was in those other classes and I was looking for inspiration, there were two or three here that really intrigued me and I wanted to kind of investigate the production of these because I think that they could be kind of fun. So I have been practicing, of course. Like I have nothing better to do once I finish a Hard Day's work, which is usually either editing or maybe some art licensing work. I snuck up on my couch with a blanket and my iPad, and that's where I have some fun and I do some playing. So this board, of course, was my inspiration. And one of the things that I've really noticed lately is the negative space on a lot of these are example this one here if you take a really close look at it, and of course this one's going to be a video. If you take a look at the artwork though, you'll see that really what stands out, at least to me, is that space around all leaves. And this is really interesting to me because of the depth that is built up in this way. I think I get a little bit of that in a couple of my other classes, or at least we talked about it. Here's a really great example of what I'm talking about. And really it's several layers of the same thing, but each of the layers is a little bit darker in between the actual trunks of the trees. So the trees are bare. In each of the layers. If you look at it, sort of receding into space, each of those gets a little bit darker and so does the negative space between the tree trunks. So it's kind of experimenting with ways of doing this with some of my brushes. Of course, I like to use my stamp brushes to do this kind of work. And so I really got to taking a good look at a lot of these examples. This is another really gorgeous one here. And of course this will be a video as well. And you can see here that with this watercolor that she carefully sketched out the shapes and then painted the background so between the trees, as well as painting the trees themselves. And I love this look, but I am just not that patients. So I have kinda figured out a couple of ways that we can do this. That if you go little bit faster, just because we can be aided by the power of the iPad itself. So we're going to be using Procreate, and we're going to use the iPad. And the theme that I have decided on is Jungle Fever. And this was kind of my inspiration piece. So I just love how theirs, the depth here, and I also love the different texture on each of the leaves so that leaves themselves have had different things added. And I have created some brushes that I've never seen before. Honestly, it's not that there's super-special or anything, but I have just never seen before. So my brushes are going to be either very plain so that we could add detail or they're going to be quite textured. And sometimes I've done versions that are, There's three different versions of the same brush. So I'll have the absolutely plain version that I can use for adding details to add, there'll be one with a really solid kinda look. So instead of being an outline, there'll be a really solid shape that can have details added. And then the last one is going to be just having texture on it. I would compare it to maybe liner block. And we're going to do a variety so they won't all look like Nanoblock batch. I really want to get this sort of layered jangly depths kind of a thing going on. So that's my idea for the class today. So the inspiration definitely came from this board. You can check those Bordeaux on Pinterest, it's one of mine. It's called leaves and trees. Illustrator and photographs. Could just have this board and no other boards at all and be inspired till kingdom come. This was another one that I pointed out in one of my other classes too. And I just love this technique, adding textural shapes over top of a finished shape to give that additional data. So again, like I said, we're going to be drawing from several of these different examples. So we're definitely not copying someone else's technique. We're going to be doing something completely new. And I really hope that you will be inspired to create some of your own brushes and textures after you've done this class at least once to create some just absolutely gorgeous, gorgeous layered illustrations. All right, so I'm just going to show you quickly just my document here that I used for my title slides is when I've got completed. So I can show you all the different things that I want to do here. So these are a bunch of the different brushes that I've created. And you can see three different ones here. This is the outline brush, and then I've got a solid shape brush, and then I've got a textural fill brush. And this was also textured as one that was added after the fact. But this is the actual brush that has this texture on it. But those are the different types of brushes that I'm going to be helping you to produce. Um, and then I'm also going to be giving you this document setup. I'm going to make it look a little bit different here. I'll get it a little bit more organized, but it's got the overlay here that gives that really textural watercolor. Whether or not you use a watercolor brush, you're going to get that watercolor texture on everything because that's not a color burn. So you can see that that is adding the texture to the rushes or shapes, anything that's underneath it. So that's what I plan to do in the next lesson. And that's where we're going to make a few of these brushes. So I will meet you there. 3. Creating and Embellishing a Brush: Hi guys, welcome to Lesson 2. In Lesson 2 here we're going to be creating that brush and adding some embellishments through it. Let's get started. Hey, I'm going to open up my brushes document that I've created for this project. I have created a ton of brushes here. As you can see, I've added these actually to a bunch of others that I created in another document. So I've combined my ferns and now these new jungle flowers into one. And I do this because I'm preparing a set that I will eventually sell. I'm so far behind on all of my stuff. That might be a couple of months before I get it out, but at least I've got it set up in such a way that I can do that. So this one here I have not created into a brush yet. And I just want to show you kind of the steps I'm going to take here to add texture to it as far as the drawing goes, I added a inspiration here by, let's see, go to the Canvas. My reference. Yes, there we go. And this was the references that I used. So I just imported a picture here so that I would have it to follow along. And I a quite different, I have loosened up the way it's drawn. So I've really stylized it instead of being really squared off. Edges here, got them pretty rounded and simple. I'm creating most of my brushes to be quite stylized. And at this point, I don't necessarily need to have my reference here. I'm going to leave it here just so that you can kinda see if I make some I guess what you'd say adjustments to it, then you will. If I refer back to my picture here of know what I'm talking about. So really what I wanted to do here was to just add some lines in here. Now, I like creating several versions of the same brush. So what I'm gonna do here is duplicated twice. I like creating a solid version of this that I can use to add details that are painted in. So what I would do there is grab my selection tool, make sure I'm on automatic here and I don't want to color fill, so make sure that that's not on, so it should be blocked and not blue. And then what I'm gonna do is just drag and select. And now I've touched up some of this stuff with white. Let me just do something here for, so I'm going to add a layer underneath that is pure white. It's going to drag that white into that layer. So it's pure white and you pinch the two together. And now when I do the selection, you're going to see that that white that I had there for touch-up is gone. I need to add a few things here. So I'm going to just tap into the areas that I needed to add and that selects everything in the background. But what I wanna do here is select inverse. And then I'm going to fill it with the blocks. So in this case, I'm going to just use Fill Layer, anything that was selected or the inverse of that background. So anything within the leaves is now solid block. So now FAC, this for some reason makes me notice any imperfections a little bit more. So that's one thing you might want to do first before you duplicate even is to make some corrections or repair anything that you don't like there I would go to my regular brush set. You can go to even a calligraphy brush. A monoline is great. That's very much like my posca pen. And then just go in and make some little corrections. I mean, it's probably just kinda sweating it. I don't know if you need to because when you do all this layering and stuff, the last thing you're looking at is these little imperfections honestly. And what I like about leaving some imperfections is that it keeps that hand-drawn quality so it doesn't look like a machine produced. These things. I always laugh when I hear people call art done on the computer. Computer-generated computer does not degenerate the arch. The artists generates the art. And these are just tools no different than the paintbrush that was used in painting something by hand. Now, one of the things you might want to ask yourself is in a case like this where two leaves me, do you want that to be separated? So you might want to do a thin line like this. So that's just something to consider. I'm neither here nor there about that. I really think either way would be fine. So then we've got that one brush created, and I'm going to make all these brushes at the same time. So I'm just going to hide that layer for now. Let's go into this layer now and think about texture that we might want to add to this one. So I was kind of thinking mind like along the lines of a lineup block print. And I do have a bunch of really great Why no block textures that I bought. So I'm going to do the same thing as I did before where I select this whole background. Well here that's going to give me that thing again with the white. So I'm going to fill with white and combine those layers. And then now I'll do my selection. So I'll select copying to select these additional areas without one's still showed up weight. Then I'm going to select the Inverse. Now, my leaves are selected. Now there's something wrong with this white here. So I'm going to add another layer, fill it with white. I think I just feel the other layer before the select. Infill, pinch those two together and I think I'll be good now. So one more time. Let's select tap to select all of these little extra areas invert. And now that I know these areas are selected, what I want to do is brush in those textures that I was talking about. So let's take a look at that texture pack that I'm talking about, which is this one. I'll give you a link to this one. I don't remember off the top my head the name of the artists that produce these, but I'm thinking that I want something kind of lining like this one would be kinda neat. So I like the look of that. Let's do that in black actually. And you can see how that will give a really cool texture. And what I find is really neat is that you can turn your Canvas so that you can change the angle of the line. You know, if you can see that if sleeping not extreme enough. But for example, this one here, I would want to turn it so that the lines are going vertical with the leaf. If you understand what I'm saying. So I'm probably gonna be able to do a few in this. I don't want that one this way. Turn a little bit more so the lines are going treat horizontal. So if I turn the leaf, you can see that the lines will move to whatever orientation I have them. So like these basically facing upwards on the document. I turn them, I can get that line also kinda going upwards. So this one, for example, I want the lines to be across this way, which would be kind of at an angle of the canvas. So I have to change the canvas to make it half the lines and the direction that I want. I hope that makes sense. Producing a brush like that. It's actually fairly easy. But sometimes this is one of the great things about buying texture sets from other people is you get some pretty cool, sorted, new things that you can try out. So this one, I might do something like this where have those lines going in the direction of the line that was there. This side, I would change the angle so that there's a contrast between the two. So basically as long as I'm facing are pointing my leaf to be perfectly lateral to the top of the bottom of my iPad, pointing the sort of central line to the center of the right side, then I'm getting the lines the way I want them. And this is a really quick way to make a super interesting leaf. And I've actually never seen this. I've done a lot of classes here, and this is something that I've never seen another teacher explore. So I'm hoping, I'm hoping I'm the first one and that I'm giving you an idea that's truly unique. So check that out. Like I mean, isn't that just so super cool? Very, very different. Looks. So different than the outline or the solid. And then this one here, you could have it, just keep it as an outline and you can also duplicate it again. And then for this one, you might be wanting to do something like what's actually on the original example, which is lines that all kinda converge in the middle of its kind of fan out otherwise. So let's try that out. So I'm going to hide that other one and I can keep that reference nice and big to look back out if I need it. But basically what I would want to do here is I'm going to use my posca pen. Basically, the Posca pen is that monoline are very similar to the mono line that in the calligraphy SAT. And then I'm just going to pull some lines down from those little wrinkles that I drew on the edges. Okay. So it's as if there's little folds or something or splits. And of course you can make more or less lines. You can make some lines thicker and thinner. So I might have ones and then go even thinner metal, I've enlarged the brush. So what I need to do is go into the brush behavior here and make it a lot smaller. I usually work in a much bigger size for my finished art. So that's why a lot of my brushes are enlarged at this point right here. That's a bit too small, but here I might do alternate line weights and, uh, kinda like that. So I made a switch to that, doing two or three different line weights. So maybe I'll go through and do a bunch like this and then get my thicker brush out and add some thicker lines so I'll time-lapse shot hurts. I mean, already, I really liked the look of it. That looks pretty new to me. So we're gonna go through real quick. And then we'll switch to kinda of a heavier line. Now stylizing brushes is something that you kind of learn. And it'll just by experiment, I think we tend to try to draw things really realistically when we are first learning to draw or that's what we think our goal should be. And then after awhile, we kinda loosen up and start simplifying shapes and simplifying details. So I can't exactly tell you how to do this. I would say, you know, experimental little and then try a bunch of different methods. Doesn't have to be for a brush, what kind of motif he really wants. I find that for things like pattern design, simplicity is really good. Although I've seen some amazing, really detailed patterns to some of that. Because William Morris Style Art. Incredibly detailed and that can be beautiful in itself too. So it's really personal preference. So apparently I double-tap a lot because I always have that little quick menu coming up. And thus if I double-tap, that's going to come up while it's kind of annoying at times, it's also very helpful. So I use a quick menus to do things like store my favorite pens, favorite techniques like liquify or my eraser. It's a fast way to choose instead of having to come up here every time. Sometimes this happens where I accidentally leave a bit of a line, super annoying but not that hard to fix, I guess. So I'm not being super consistent. I'm doing these a little bit different each time. I think that really adds to the character as well. Kinda got three different brush drinks, I guess you'd say, why would even switch to an even thicker brush here and there. And really we could have done something like this, looks like a little split rather than going all the way down to the joint here. And for that maybe I'd used my tapered brush pen pressure because that's the one that I can get thick and thin. So I'm just using up on my pressure to get the line to come to point there. And sometimes I'm trying to line it up to one of these little bumps here, but there's lots that I haven't done that with. So so when I do my double-tap to get to my quick menu on my brushes here, I can also choose my favorites. So posca is the best one, my postcard or mono line for doing things like straight lines can pressure one is a bit hard to work with for that. And here I go back to my tapered brush to do a few more of those lines with pressure that can really stop at anytime here. I now have four brushes here. So to make the brushes, now I want to add a white layer to each of these as well. So I'm going to select my wife here, drag white into that layer, drag weight into that layer, will move that into position here. Pinch together, pinch together. Now, did you notice what happened there when I pinched it together, the brush actually disappeared. And the reason for that is that it was turned off. So let me duplicate this again. For this underneath these two I can pinch together because they're both visible. And I need to make this one visible before pinching them together or it's not going to work. So now for making the brush, you'll see me make brushes so many times before I'm going to walk you through that one of these, let's pick this one actually, since it's the one selected, I'm going to three finger swipe downwards to copy. And I'm going to go into my brush library for that particular set that I am producing. I'm going to go back to one of these that hasn't been enlarged yet, duplicates. I'm going to go into shape, hit Edit, hit Import and paste. Because that other brush was reversed out. This one automatically reverses OK, if it wasn't all you have to as a two-finger tap on it to change it here, make sure you hit done twice. And then the only other thing to do would be to rename it. And I can't remember what this is called. So I'm gonna go look that up and I'm going to label all of these before my next lesson. And I'm going to let the train go by because it's making so much noise. And I will see you in the next lesson. 4. Master Document Set Up: Hi guys, welcome to lesson 3. And less than 3 here I want to go through that master document and explain all of the different layers and just let you know how I go about using it. Let's get started. Okay, so when you download the class assets, this is what they're going to look like. They're going to be a zip file. What you want to do is hold your finger down on it and go to uncompress. Then you will get the folder full of, I'm going to have other things here, of course, but at this point we just have the paper. So when you go into your files because you've downloaded it, once it's expanded, this'll be in it. And you can just hit Open and it's going to open right up in Procreate. So this is an 8.5 by 11 document. I'm just going to show you the settings here on the canvas. Eaten half by 11. It's at 300 pixels per inch. 75 layers available as what I just saw there. And I've only used a few here to create a bunch of different document textures for you. So we've got a paper texture of watercolor wash, lots of Bloom's bottom kinda corner, and some texture from filaments. And then some really good watercolor blooms. So I've got the blending mode set here for you already, but you're welcome to play around with these changed from whatever you want to do. Now, I would suggest that once you have it here in your gallery, it'll be that first one there. You want to duplicate it. So select and then duplicate. And you might want to duplicate two or three, so you've got them there to use. We'll name them something or you can name them something appropriate for your projects. So I would name this probably Jungle Fever project tubes about project 1 here. So I'm going to just open it up and I want to give you a bit of a demo on the actual, what each of these textures is going to do. So what we'll do first is just add another layer. I want to put that one below this, so it's not in that folder. So you can see here that that is a group, like a layer group. And this is separate. And on this one, Let's just put down a couple of these leaves. Now, let's try something with a fairly big leaf, and I'm going to start with a light color on one of them. And let's try one of these leaves so that you kind of have an idea. So this brush really small. And I'm not trying to form a good composition at this point. I just want to show you what each of the layers will do. Okay? So at the top is the watercolor paper texture. I would say you probably want that on with whatever combination that you put here. And you'll see that whichever of the textures that I choose will show up on the leaves. So you can see that this one has a lot of little droplets. This one has a lot of sort of hard edges and blooms. I've set these up, adjusted the curves and levels and all that so that they don't really change the color of your items that you've painted. So that's the one that has a lot of blooms. You may not see them exactly in that spot. You can do to take it and move it around. So you can see at the different parts of the canvas have different sort of Bloom's. This is the altar that went off and this is the one that's kinda just in the bottom corner. It doesn't really have anything in this corner, as you can see here in the Layers palette. This one is just textures. Oh my God, another train. Seriously? I've got my window open today because it's kind of hot. My husband is sick, so he doesn't want the air conditioner on. So all morning it was either chain saws, lawnmowers, trains. There was always some kind of noise like early recorded this morning. I thought this afternoon might be better. Usually by this time, everybody in the neighborhood's finished her work, but that of course there's the drain, so okay. This one has those little filaments and you can see there, I guess you'd call it a texture. This one has a different type of filaments are more like little, this almost looks like those little pigment spots that you'd get when your watercolor paints don't fully dissolve. And it's a really nice watercolor texture here. Now you can use these in combination with each other. Sometimes it makes it a little bit dark, so you might want to experiment with the paper or with a blending mode as well. So here I've got color burn, but it's, you know, it could be that another one of these textures works just as well. So I'm going to leave it on Color Burn. Also note that you could duplicate one of these layers, Let's say this super watercolor here and bring it down. And then you could put it at normal and just have it as an actual colored background texture, whatever watercolor. So you could take and flip it vertically, horizontally. You could resize it. And of course you can recolor it so you can go here to Hue and Saturation and Brightness Adjustment Layer and then go through and just move with the hue slider to change the color, to get it to a color that you like. You could saturated or desaturated, make it brighter or darker. You could also go in with your curves or your color balance. What you can do with curves is to adjust the levels. So basically, just like the levels adjustment in Photoshop. So just depending on how you pull it, this will brighten it. Moving this one over. This one will darken the dark areas. And then you can go in and adjust the mid tones by just pulling on that line a little bit. Okay, so there's a few different things that you can do with this document. What else did I want to tell you? A few of my other classes. I think I've given you some sampler textures. I'll maybe throw that into this one too, because this is how I often do you make additional textures and add another layer. And then I'll go in and try something like this. So I'm going to go just with straight black. So you can see the texture that I'm adding. I love this concrete one. It's just fantastic. And then if you want it to be one of your blends to put over and just show on the colored areas. You can change this to color burn. And it's just going to show up within your motifs. Now that was with pure black. So, you know, it depends on what you wanna do. But that's just another way that you could create additional textures. So I will, now maybe I'll just leave that one in there. I'm not sure if this is the document I'll end up sharing or not. Okay. So that is basically the setup of your document. The other thing I wanted to talk to you a little bit about is color scheme might color theory for choosing a color scheme that's going to really work with this particular technique and style that I'm thinking. So I'll do that in the next lesson, we'll talk a little bit about color theory and how we can work with our color palette here to create some different harmonies that we can use for creating that really nice analogous color scheme. Alright, but I'll meet you in that next lesson. 5. Color Theory and Reference Gathering: Hi guys, welcome to lesson 4. For a while. Now I've been wanting to talk to you a little bit about color. And I've never had really a color theory class. This quick lesson is just going to take you through some of the basics of picking a color scheme. We're going to be working with an analogous color scheme. And I would explain what that is throughout the lesson. Let's get started. So what they would never really talked about are not very much in my classes anyways, is color theory. I wanted to discuss with you the color scheme that we're going to use today, which is an analogous color scheme. Now, analogous colors, if you're not sure what that means, are colors that are adjacent on the color wheel. So usually you'll have primary, secondary, tertiary. If you want to really know the difference, I'll explain to you real quick here. You'll see here that the primary colors, of course are yellow, blue, and red. Then when you have an in-between color here, here, and here, so they're halfway between blue and the red. So that would be the violet. Between the blue and the yellow is the green. And between the red and the yellow is the orange. So those are called secondary colors. And tertiary colors are the colors that are then between those. So between the secondary and the primary, you'll find the tertiary color. So the way you know it's a tertiary color is that it has two words in its name. It will always have the primary color and then the secondary color at the second part. So the primary is the first word there and the second word there, it's from the secondary color. So like I said, it's not that important that you know, this is just that how you're going to be picking your color scheme. So the reason we do that, the reason I like doing that is because I know for sure that those colors, if they're adjacent on the color wheel, are harmonious and they're made up of bits of each other. So that's what makes them harmonious if that makes sense. So what I thought would be really cool would be to take a look at some, let's go into this category up here. So when you search something like analogous color palettes, you're gonna get a bunch of different options here. And I thought that would be fun to look at the nature one and kinda flip through and take a look at what it means when you see these color palettes. So just like I said a minute ago, the color palette is going to be made up of colors that would be adjacent on the color wheel because they're made up of secondary and tertiary. This is where my high-school students with surgically is over. And just be like whatever. Just tell me what I need to know. So I mean, basically what you need to know is that those colors are going to be harmonious. So this is one of the ways you could choose a color palette today would be to just maybe save a couple of the color palettes that you find here, like the one that we just looked at, for example, what we could do is save this so we can just add it to our photos. That's probably the fastest way. We could actually add the word here, jungle and see if that would help to narrow down a couple of color palettes. And it does so the same thing here where we could save that to the photos when it's kind of a nice one to add to photos. This one is a nice dramatic one and add to photos. So we've got those. We can simply use those colors schemes and not bother with trying to do any color mixing in Procreate. And it is also kinda fun to do it in here. By the same token here in this school, I was in my disk here, and then I went here to harmony. And you can choose kind of color harmony you want to work with. So we have decided are ready, we're going to use an analogous. If it was triadic, you would change it. If it was split complimentary. They're all going to come up for. You can then use these and move them around to try to choose a color palette. If you pulled towards the outside, you're going to get a really saturated color. If you're pulling towards the inside, you're getting a little bit more desaturated. So this is a good way to choose a color scheme as well. Now what we would do here if we wanted to create a palette, would be to go to the pallets, add a pallet, and then we could add the colors from our disk. So this is the one that I'm working on and go back to the harmonies. Once I've picked the color, I can just tap on my palette here and it will add the color. And what we can do here too, of course, is to branch out and create other colors that you feel would be a really good addition to our palette. You can also use this slider here to darken your colors. So this will give you shades. You've heard terms shades and tints. Shades are when you add black and tints are when you add white. Here we're adding black to create different shades. And here we can go white and lighter versions of the colors. Let's go right here. So this is one of the ways that you can create your palette. We've got quite a few colors here. This might be enough, we'll see how it works out. Now the other way to do your palate would be to click this Add again. And this time we're going to do new from a photo and we would grab whatever photo it was that we wanted. And that would create a really great and very full color scheme because it's obviously taken from more than just these color chips at the bottom. It's taken all of this information as well, whoever they like this one. So this might be the one I'm going to use, so I'm going to leave that on default. That means when I go back to my desk, this is the palette that will show up. And one of the things I like doing is to pull the sauce, which two pallets. And then I've got all my colors, nice and handy. Generally, I move my document to the side here, my palette over here. And then if I've got a reference, I'll put it here. So that's kind of everything set up and ready to go for what I wanna do today, Let's just pick a reference. We might not necessarily use it a lot, but let's go to me here. Leaved trees and trees again. So many of these could be inspiration for what we are creating today. He doesn't have to be jungle related, but this is the one I think I'm going to use is this one here. So there's a couple of different ways I can get this into Procreate. I could the image this way by doing a screenshot. So I'm using the on off button and then the volume button. And then I can select the area that I would like to use as reference. And my hit Done. It'll ask me if I want to save it to photos and that's what I'll do. That's the one way, another way that we can do it here. Let me open up, procreate, and then I can grab my safari, drag it. And let's say this one here was the one that I wanted to use. And I could also just take and drag that picture here. And that would be one of the ways to bring it into my document. Or I could also click on the picture, save it to my photos, and then I'd be able to bring it in. And remember I showed you that reference. So what we would do here is go to reference. That's going to come up. I'm going to go to Image, I'm going to import the image, and I'm going to be using this one for my reference. So this is the other thing that I sometimes keep on the side here. I may eventually like too much stuff in the way here and I want to get rid of it. I would turn these off or, you know, dock them. But at this point I'm kind of all ready to get started with my actual creative work here. So I think I'm going to take a break. Yeah, I'll meet you back in the next lesson. And then in that next lesson we're finally going to start illustrating. So I will be there. 6. Advanced Layering and Selection Methods: Hi guys, welcome to lesson five. In this lesson, I want to kind of go through that whole negative space painting that I talked about in the first lesson is going to be some advanced selection methods that I don't think I've covered in other classes. So this will probably be your first exposure to it. Let's get started. So I talked about advanced selection methods, and I just want to reassure you that it's not hard, it's advanced, but it's not hard. So the biggest thing is the way we're going to sort of create the reverse image that we need to have our flowers or leaves show through to the wash or whatever it is that we're creating to have a lease stand out. So remember that with the negative space, what we're doing is mostly painting really deep and dark in these back areas on the outside of whatever our images. So mine is going to be leaves. I'm going to have these big leaves. They might have a little tiny bit of color in them like these two here. But it'll be the outside around the trees, around the leaves, that it's going to be what really makes the leaves stand out. So what I've done is I've use downs and you don't have to use stamps by any means. You can actually draw all of these different images yourself. And I'm using stamps because it's faster. And that's why I developed this brush set was to create a project like this. So you'll recognize this one here that was that when we were working on and it's going to show you here that I've done it in three different layers. Okay, So as I was working on them when I did the first one, I would reduce the opacity of it, create a second one. And because of the opacity with reduced on the first one, I could see the placement of these different leaves. And then I would then go through and also reduce the opacity of that one. And then the third layer, I would draw a bunch more. So I intentionally had them all really overlapping like that because it's kinda look, I'm going for, this reference is pretty good for what we're working with. So if you kinda keep this idea of these leaves around the outside, kind of an open dark space in the middle. I'm thinking I might put a word in there at some point. I'm not exactly sure how I'm going to end up using it, but I just wanted to show you that the part that is what I would consider advanced is now taking what we've got here, go back to my full black and creating these different sort of masks that are going to combine, if that makes sense. So that when we do the overlap, we're not going to be having the edges of these showing when we paint the second one. So to show you what I mean, they're the easiest way would be to select. So I'm going to hit the actual layer thumbnail here. I'm going to go to select. The one I've got selected is the actual leaves. I'm going to select the inverse. So this is the background that's now available to me for painting. I would add a layer. So down here is where I was doing that. I would add a layer. I will choose one of my colors. I'm going to start with a really light one actually. And I would go in, what do I have? I've got some kind of texture selected there. I would go in with my watercolor brushes. And I'm going to use extra kind of a wash. And you can see that I'm painting the negative space around the leaves. Okay, so that's all good. Now if I were to do the same thing here, I would go to my next layer here and select it, select Inverse, probably add a new layer, hide that so you don't see it. When I go and I start painting. And let's go a little bit darker so you can see what's happening here. You can see that even though I am getting that negative space that I wanted, there's a problem here because I'm also getting the other leaves kind of showing through like that. So I don't want that. What I want is for those leaves that were on there first to be blocked out of this stuck in one. So that's where the advanced selections or the term advanced. That's what it means or like. That's what it means to me, is that it's advanced in the sense that you now have to really think about that and how you want to go about doing it. The first layer is fine, you can just leave it as is, the second layer is going to have to be accommodation of the first and the second so that it can, it'll block out those original ones. And the third one will be a combination of a second, third 1. So the easiest way to produce these, I'm going to hide them for now is to duplicate this set here. So it always keep this without doing anything at all to it. So what we're gonna do here is swipe to the left, hit duplicate. This set here is just four Keeping. I'm going to also lock it so there's no way that I can mess it up. And now this new group is going to be combined leaves for making the proper sort of a mask. So what I'm gonna do here is I'm going to, I only need this one once, but I need this one twice, so I'm going to duplicate it. Actually, I do need this one twice, so I'm going to duplicate this. These are the two that I would combine. So this end this, make sure it's on and visible. And now I'm going to pinch these two together. So I actually don't need this one anymore. So I'm going to delete it. And then this one, and this one are what I need to combine many to keep this one though, so I'm going to duplicate it. And then I'm going to combine these two. So you can see here that I've got the progression. I've got the one by itself, and I've got the one that has the two different layers and then I've got the one that has all three. I can see here I've got a little bit of green there for some reasons. So I'm just going to go in and choose Hue, Saturation and balance and pick out right down to 0 on the brightness. And my thought here to peeking through. So I'm going to do the same thing. Not quite sure why that happened, but very easy to fix. So now I've got the three different masks that I need or the layers that I'm going to use for selecting. I just call them masks on habit. Now we can go through and do that same process that I did originally. What I would do and delete the one that I had made myself sir, new one. And what I did was of course, to go in and then just do the reverse painting that I needed for each of them. So I'm going to delete the ones that I did so that I can do them with you. And I'm going to start with the single one, of course, very simple. At this point, you hit the layer, you go to select, you select Inverse, you make a new layer down here. You get your brush, you get your color. I'm going to and how did I end up closing that? And it was I'm going to grab one of the lighter colors and let's just turn off that layer so you can see what's happening. But with this, you're going to learn after you do a few of them, where you want your color to go down. So you don't necessarily always have to go to the edges. You may want to add a little bit of darker and put it in, in some spots, you'll see F layers build up though that it starts to get quite dark. So that's one of the things you want to keep in mind. We also could, at this point put a little bit of color into our leaves. We can do that now or we can wait. So if we wanted to do that now, we would have to select the Inverse and then put the color in. And I'm thinking maybe I'm just going to wait till the end to do that and I might be able to do it with color burn overlays or something. Now that we've got that one done, I will grab this second one here. I'm going to do the same process. Click on it. It's a lacked leptin. Well down here and make a new layer. And I think I'm going to make it underneath a can't remember now whether I did that way before, but let's just try this out. Medieval entity I'm going to add, let's shut down the templates that we can see this a little bit better. That's kind of hard maybe to see right now what is being protected in that green area. You can see it really well here. If you feel like you want to darken that up a little bit, you can go into your preferences here. Mascot visibility, you could actually turn this up. I personally don't like it like that. I kind of want it I usually turn the land around the 30 percent or so. And here we can pick a slightly darker color. We've actually got a darker color here. Let's put this at full strength and let's just start painting that in. So again, you're deciding on how much darker you want it. You can, even at this point, start putting in some of the textures. I'm going to provide you with these three brushes. And one of the ones I have here is a coarse salt texture brush that I've made. Let's go and quite dark with that and see if we can just kinda draw pin a little bit of texture. Now depending on the document size that you're working on, I've caught it in half by 11, like I said, you can also go in on the brush itself, go to Grain, and you could adjust the size of what that green is doing, right? My selection there. And of course, if we were working with one of these other palettes, remember, we were experimenting a little bit and we had a couple of different palettes. So let's see, we had been working with this one. We'd have a couple of other colors to help us make this more interesting. So here you could grab something like this and throw in a little bit of that here in there. This is where, again, your own artistic judgment comes into play. And like things like having left that first layer, not right to the edges, allows me to then go in with different colors. On this layer, you could go in with almost anything if you wanted to add stipple or spatter at this point, you could even do that. I'm going to leave some of that to the end. And we'll do that with some of the blending modes just to be exploring more than one thing. Okay, so let's do this. Third one will click on it, select, Select Inverse, make a new layer, and let's hide the template. And I'm thinking I'm going to go quite dark again without one and just evenly more of it down. I'm seeing that actually just got these two look identical. So I must have done something wrong there when I created that third group or maybe it was the first group. Yeah, maybe it was this one should have this as a single layer. So I made a mistake when I was doing that. So I'm going to duplicate this layer, bring it down into here because this should be, these two together, should be my last layer. Oh, I'm going to combine these two. I don't know where it went wrong there. It's a good thing I make mistakes because that way you totally learn from them. I'm going to delete that layer that I just did. And let's go to template. I'm going to go to Select Inverse. Now we'll make that new layer and hide that template and go in with our see what I've got here. Let's go with this nebula wash. Because nebula wash was created with a nebula shape. Okay. That's why I called it that and show you that in a second. So actually do want the center part quite dark, so important in really dark here. And the beauty of saving all those templates is that you can go back at any time and change any of these, you know, so if you found that maybe that first layer with a little bit too light or you wanted to have a little bit more yellow, you can go ahead and do that. Let me give you a quick look at that brush. So click on it. She go to the shapes was the nebula. So I had gone into Edit, Import, Source Library and on down and found the nebula here and use debt. I could easily change to any of these other shapes and you can definitely do that. I won't be offended if you duplicate it. Go in, go into the grain and change. So this is the green I had for this one, we did a single pattern repeat tile of this. And then I used it to create the texture. But there's a ton of great ones. I'm always using these and these feed paper ones are actually really great for watercolor. That's another thing you could do. And you can see here how we get some of those sort of little hard edges there, which could be quite interesting. Let's go back to being selected. You know, so that's a really neat thing. And, you know, we haven't even started to play with our overlays in the document texture layer here that I provided you. So we'll do that in the next lesson. At this point, let's just take a look at this without any selections. And you can see that we've really started to capture that feeling of the real depth and the layering. So x-height like to experiment with adding color or maybe some texture to these solids. And I specifically made them solid so that we could then add detail. So I will see you in that next lesson. Tom, for a cup of coffee. 7. Composition and Layout Ideas: Hi guys, welcome to lesson 6. So in this lesson we're just going to continue adding a bunch of different layers in pretty much every layer is going to have a different technique that you can learn for just really polishing up your design. Let's get started. All right, so I've shut down by palettes here just to give myself a little bit more real estate on my screen. And you could honestly almost talk here and have an art hard key. I really like how the negative space here has really worked out in showing us all of these different levels. Let me make sure that they're all on. And I like this really dark space in the middle. I think we can do something with that. You can see in a lot of spots that we've already got some texture happening. I want to add more texture in this lesson and I'll talk to you about other ways that we can add interests to this layout. So of course, one of the first things we can do is experiment with and the layers, like changing the order of the layers. So let's just take a quick look at how that changes things. I think I will leave it the way it was because then I have got that deaf good. I want I didn't really like those other combinations, so I think I'll just leave it. And it was here that I've got a little bit of this one coming through. So I'll leave this layer on. But I'm going to use this layer here to select this one flower here. I think I've still got it on this one leaf here. So we'll have an automatic, so I'm just selecting that one and I'm going to go through and make sure that it is cut out of that layer. So I think that would be this layer here. And there we go. So I don't know how that happened, but whatever, now it's all fixed. Okay, So first of all, let's take a look at what happens when we turn on some of these layers that I'm supplying. So there's an example of just simply having a watercolor background. I find it too dark. So what I would do is select it and go into hue saturation and brightness and brighten it up a little bit. What I do like though, is how we're getting some of this texture right into the leaves without having gone in there and really made any changes. But that's one of the things that we can look at. Let me just turn that one off for a sec and let's go into these document texture layers. So of course we've got the watercolor paper, I've left that on the whole time. We can also take a look at adding the washout. These are all on Color Burn. So you're not necessarily going to see them in spots where there's no color. It is adding a little bit here. We could turn that one off. Let's look at the blooms. That's definitely added some stuff in on some of the leaves here. I'm wondering if maybe instead of color burn here, we try something like lighten or screen. I'm just going to leave that when I think I'm going to turn it off. And let's try this one, giving a little bit of texture in on some of those leaves as well. So really they all kind of add just a little bit and mainly to the leaves that show a little bit of color. And the reason they're showing a little bit of color, of course, is because some of the other layers have added color to those leaves. Now, this one is just on normal, so we would have to definitely go in and change the blending mode or what we could do on one like that, on normal that go into hue and saturation and brightness. Or sorry, let's go into color balance and see about adding a little bit of color to what we've got going on there. So we could do, let's say a green, add more yellow. So that's just adding the green to it. And then we can still go in with hue saturation and brightness and brighten it saturated if we wanted a little bit greener. And of course, definitely experiment with the hue slider here to see how that looks for you. So I like that. That's really add a lot of texture both in the background and on the leaves. So that's a very neat addition or embellishments to make our design even look more interesting. Ones turn that one off temporarily, and let's put this super watercolor on. But the super watercolor is one that works great when you do have color on your overall leaves, et cetera. So let's add a layer here. So above my layers, I'm going to turn that one off. So above my layers. So this is the three layers that make up our illustration refocus menu coming up all the time. And it must just do some weird thing with my gripping the pen or something to make the quick menu come up so frequently. Okay. So notice there are two was that when I turned it off or just changed the opacity of that one layer. That made a big difference too for showing up some of my textures here. So I'm wondering if I then went back. Yes, then that really makes that layer standout or that type of leader. So you probably are only going to end up picking one of these as your main idea. You know, you don't have to have them all on by any means. But that really helps for adding to the background without having any color or anything on the leaves. What I wanna do here though is add a layer and fill that layer with, I don't know, I think I'm going to paint it on, but I'm going to fill it with a couple of those different colors. So let's go back to my brushes. Which one do I have? I've got this extra that I just made without funny background. Let's try just a little bit planar. Let's do an extra soft wash for now. And we'll pick maybe this yellowy color. And you know, you can at this point start varying that as well. This is just adding only to your leaves themselves because those are the only leaves at this point that are showing that you could do some in different color and definitely think about the darkness and lightness that's happening within the leaves themselves. So you could grab a darker colors and switch to the other brushy textured brush and go in and add some darkness null. You can see that we're painting into the background as well. So maybe in a case like that, what you'd want to do instead of having complete overlay over every point you'd want to do is go into that set of stencils that you have. That would be this one here. And go back to selecting. So we'll just click on the thumbnail, go to Select, and then go back down to close out folder. We're going to add a layer here and we can just paint within. You can see here that it's not anywhere on the outside. So I'm going to go get lighter here. I'm going to move into maybe these yellows for now and just really wanted light kind of a wash on some of these. But I am definitely going to go in and shake them up a little bit. I'm not going to worry too much about the texture that I wanted to add because I think I want to do that with the overlays. So I don't really like how color can go back a little bit lighter or maybe I'll just undo guards. Scott kind of a light wash on most of these now. And I can see here that this one also is showing through to the other layers. So that's something that we'll have to go and fix at some point. You saw how I did it though. So okay. Anyway, so we've got these with a little bit of color. And now when we try some of these overlays, you can see that the texture also shows up on those. It's very light in this case. I'm going to also go back and reduce the transparency or the opacity on that one. They're actually really love what's happening in here. And with this one, you know, when we have those now filled in with a bit of color, we can add a clipping mask to add texture just specificly to those. So let me just quickly, quickly show you that we're going to add a layer. Let's go in with something really textural. I'll do a dark color. That looks terrible. We're gonna do the texture blend. This will be a few blooms kind of happening within. I'm going to go to hue, saturation, adjustment, brighten, saturate, maybe go a little bit more into the yellows. We're gonna make this into a clipping mask, specifically to those flowers. And I don't love it, but it works. The other thing we could do is delete that. Let's duplicate this layer, the super watercolor layer. We could put that over top. And this we can also see when it's turned on, I'm going to enlarge it just so that some of the stuff hits the actual leaves and we'll just do a clipping mask there as well. So we've added some texture in a couple of different ways. If we had, had those leaves a bit darker and more of that would have shown. So we can still go back. This is one of the beauties of having these templates are these original layers, I guess we can call them templates, can go in and select, go back to whatever layer we were working on, this one. And we can still go in at anytime and add more color, more detail. So I've kinda intentionally late-90s, fairly neutral, fairly plain with this Lear here, we can also experiment with different blending modes and different opacities. I know I'm throwing a lot out there, but I just really want you to have a bunch of different methods to add detail. And we haven't even at all talked about you can some of those really cool brushes that we created. So this might be a good time to just go back to our brushes, add a new layer. We don't want it to be a clipping masks. We want to take it out of here. You select clipping mask, and let's just grab one of these. Humbert, one of the maiden head Fern with the woodcutter lineup cut kind of look and let's go with a really dark. It's on a new layer so we can stamp it quite large and then move it around. Focus might be something that you'd have just peeking out from the edge. We can duplicate that, flip it, rotate it, and add it wherever you think needs a little bit of TLC. And so those two together, Let's duplicate. This is kind of a cheater way of adding it in more than one spot. Don't forget that once you haven't selected, you could also go in with the word really change the look of the duplicated layer. So it's not absolutely identical to the first. Let's put these all on the same layer. And the reason I want to do that is because I want to use my automatic selection. We're going to select the whole background. I want to make sure that I get all of these little areas in here, which is a quick tap in those. Now I'm going to select the inverse. I'm going to make a layer underneath this one. And that layer I want to fill in and I'm going to go with a really super late kind of a YT green color. Go to my layer here and hit Fill. And you can see now that that flower, that leaf as this opaque backgrounds we can, we were to turn it off. And that in itself looks good. Really good too. So you can have that, you could have that could go in and make changes on those colors just as easily as you can see, we're adding more and more dimension as we go through all of this. And really now, we can just add the final touches in the next lesson. And we have definitely produced a super interesting, very textural kind of jungle theme image. So this lesson is gone on more than long enough. My copy is getting cold, so I will meet you in the next lesson. 8. Polishing the Design and Adding Text: Hi guys, welcome to lesson 7. So of course here we're going to be doing the finishing touches as much as we can in this lesson. Hopefully by the end of this, you'll have a finished composition. Let's get started. So it's at this point that I start to really kind of polish up my layout. And I brought up my reference again, remember that? And this is just to, I don't know, It's just give me some more inspiration. I guess. We definitely didn't copy that. It's got the same offense, that depth that we really wanted. I definitely have texts I'm going to add here, but Let's just add some of this other stuff here too. So we can do that by either, you think some of the brushes. So I've got a course, all of these brushes. I don't need to do that whole reversal thing. I think these can be just added as little. I don't know, just like jewelry, punctuation, whatever you wanna call it. So let's just grab a couple of these. We're going to make a new layer above everything here. And let's pick a nice light and bright colors. So it's still analogous. We're good here. And let's just put a couple of these in. Now I'm on a new layer so I can move things around. As I see. This one I don't think I like is I could add that color in the background. So I do that by grabbing my automatic selection, electing the background, making sure I select anything within hitting, invert, adding a layer underneath it. And let's go, let's go pure white here. I'm gonna drag that down into that. And so Gottman kinda stands out a little bit. I want to also just try a couple of these little solid ones, maybe something like this. And grab my yellow. Let's go nice and bright and add a new layer so that we can stick it in here in the middle, go get smaller. And this is one where I could have it coming out from here. I guess we're going to look a lot better on the dark, grab and put it into area. Remember you can do that work. You can change your shape. I'm going to give you a few of these little brushes so that you can have some fun playing with them. If it's still not bright enough, go into hue saturation and brightness. And you can brighten or darken, experiment with that because, I mean, that looks really darn good to really saturated or desaturated. It's still going to be in your harmony. And let's try. I really like this one, I just gotta use it. I don't think we need to do much distorting there. And because at that in somewhere, I mean, it's really up to you at this point. This is I'm wasting your time by showing you things that I would do when you're probably bursting with ideas of your own at this point. So those are using stamps. You don't ever have to use damps if you don't want to, you could just go in and grab some of your one of your regular brushes that I love, my tapered pen pressure brush. You could go in and add a little bit of detail to any of these underlying layers. You could go in on one of these that you had added a little bit of color to and add things like headlines. Now I'm in and being affected by this, I'm going to add a new layer and that's too late for you to see. So let's go dark. And you could go in and definitely add detail to any one of your leaves. So that's one of the things you could do. You could then also just, let's grab roundy kind of a brush. You could go in and just paint in little details anywhere that you want. Actually, I'm going to just use this pen 2D dots, a few things. So I'm just dotting here and there. So you could do that. You'd go through and complete a leaf like that or complete the entire leaf. I could go in with some of my texture brushes. That way too many brush sets now and just add, Yeah, I got those little guys. Add in any of these. I've got spatter, which of course we all love scatter. We could add a layer here and a little bit of a light spatter and maybe a little bit of a dark spatter. And look how quickly that really came together. I think I could have probably done this entire thing in like 20 minutes if I wasn't yak and the whole time. And yes, of course, you could also go back and just draw little leaves and branches in separately. Bought where something is maybe looking like it's missing a B over here. You could draw your own little motif. Now, this is my tapered brush, pen pressure. So you can see that if I press hard, I get a PICC line in the prep, prep thoughtfully, I get a thin line. You've probably all got that brush for me at some point. So that's something you could consider putting in there. I'm going to add another texture there and go in with one of these other textures like my favorite texture ball. I could do that lighter I think, and go get smaller. And you see how I'm adding groupings of dots all at once without one. I believe I've given you that when in the past tube is when we could go dark and maybe do some. Around the edges, I'm going to change the size of the green on that whole course about this tetra like really gigantic sort of campuses. I don't know if I like that one, maybe in here. And again, this is so different than it was at the end of the last lesson. So you can grab ideas from some of these references. Look at that leaves and trees illustrated on my Pinterest site. I'm going to actually shut that down for a sec because I also want to show you the texts that I added. So I just went in and quickly typeset. It's a jungle out here. It seems a bit lost in here. So I added, I duplicated that layer. Fact. Let me just show you. I'm going to duplicate it. I'm going to put it underneath. I'm going to select that type. So edit text, I'm going to make it black. It's hidden right now. But what I wanna do here is Guassian blur. And as I slide it, you can see I'm getting more and more of a shadow in there. And that's really helping to make the text stand out. So there's another idea for you. If this was something I was really doing. I mean, this is an example, but if this was something that I was doing for an actual job, let's say I would select all of these layers, sliding to the right, all the way down, make sure I've got everything, IT group, and then take that whole group and enlarge that a little bit so that the area for the lettering was bigger or given thing I could do is change the cropping on my documents for my canvas, Crop and Resize, make my whole document bigger. Let's go quite a bit bigger here for an experiment hit Done, then I could select that layer or that group. But, but all three things selected here, now I can make everything bigger. I guess me a little bit more room here for my text. And I know that was a whole bunch of steps that you didn't necessarily need to know about. But I'm just like that. And if I do the UX project and you see it, then you kind of get a better idea of things that you can do and of course, things that you can avoid. I'm going to take those textures out that were around there. I'm going to make sure that drop shadow is back on. And then of course I could go back in and crop again to be sure that it's perfectly to the FIS of my illustration. Although I really don't mind that white release around there. Let's actually do something here where we enlarge. So we have kind of whitespace all the way around. And you know, what this reminds me out is how you end up with a white frame when you do a masking tape on your original document before you start doing your watercolor. So we could take that one step further and add a layer on top of absolutely everything. Let's just close all these off to make it a little bit less unwieldy looking will add a layer here. And for masking tape, I like to use the procreate resident Nikko rule brush. And I would go in and let's see how big I want it to be, white or the color of the paper. I'm going to make it bigger. And so I'm just going to stretch a line all the way down. I'm going to hold my finger down to get a perfectly straight line like this. And I think I'm going to go picker. So we get a little bit more texture. So I'm going all the way down, holding down my finger and I can get a straight line and letting go. I'm kind of just eyeballing it, but you can see what's happening here is what I'm gonna do is have a bit of a textured edge to the line. So if you look up real close, you'll see that I have kind of a textured edge there to make it really stand out. I would go down to my one of my bottom-most layers here. This one has just some color in it. Let me put something a little bit darker in there. Let me just start from scratch because that one had henri already have a layer, move it to the bottom, fill the layer. And what we're gonna do is just cut out this middle part. You can even just use your Nikko rule as an eraser there. So go down to painting equal rule or really nice and big. And just go in and erase everything in that central area and it hasn't even taking all of it out. But when you do this, you kinda get a little bit of texture showing through on that Nikko rule brush all the way around to make it look like it's a little bit more. I mean, it's like your paper texture showing through, so it's a little bit more dirty and you can take your watercolor paper and put it above everything. So it actually affects that layer as well. Okay, so those are just a bunch of just crazy ideas I'm thrown out at you. I know, but I don't know about you. I'm happy with this. I feel like this is really great experience to have gone through with that negative painting technique. There's a bunch of other stuff I would love to show you. And like I said, I want to go and do that. This whole sort of reverse painting, negative space painting of trees and so on. And maybe I'll do that in another class so that we can experiment with a few other things. One of the things that I definitely want to talk to you about is adding that sort of watercolor read, dark edge to it. Completely ignored in this particular project. But I think that, you know, if you can experiment with this and come up with something that looks as interesting in the end as this has ended up, then I think you're golden. So again, another idea class, totally throwing a whole bunch of stuff at you. But I think that it's been successful. And I really hope that you'll experiment with this and do a couple of projects and just practice that technique. You don't need to get as elaborate. You don't need to have that many leaves or layers. You could even try at first with just two layers and see how it feels overall. And then really start experiment with that and getting ready for that class that we'll be doing on trees, the thumb points. So, yeah, I'll meet you in the next lesson. So this is one of the layouts I ended up with, and I just want to show you a couple of the other ones just to give you some ideas of other things you can do to just make it different. I guess you'd say. So with this one here, I actually threw in a couple of flowers as well. Then I went back and change that so that it was all of my jungle leaves. Here are a couple of other takes, just the simple watercolor. And this is without using any of the negative space itself. This is the edging that I was going to explain to you and I think that because his classes already so long, I'm going to save that for the next class. And what that does is it gives that little bit of a dark edge that would happen when you are painting actual watercolors. So I want to be able to add that to that next project that we do in the other class with the trees. So I will be explaining that you could definitely go in and do that on any of these leaves as well. It's not that difficult of a process. But as I said, that's something that I'm going to see for that next class. So I guess that's it for this one. And I will meet you in the raw hot. See you there. 9. Outro: Hey guys, thanks for hanging out with me today. I really enjoyed playing with these designs and I do this kind of in the evenings. I might have an idea for class and then I go back during the week and I do a whole bunch of different things. And it all kind of comes together in the end in the class. There's just something about this one that was just particularly fun. I love the fact that you can really do all of this layering and come up with some really unique looking artwork. I'm really hoping that some of you will post your projects down here. I love seeing them and I really think that I learned from you just as much as you learn from me. When I look at the designs that you create, I'm just blown away most of the time. Thanks so much If you have shared in the past and don't hesitate to do so again. Now, you can also, if you ever need to ask me any questions, you can ask questions in the discussions area here. And this is a great way for other people to learn from what you're asking, Okay, So also don't be afraid to ask questions. I've got a ton of resources on my to Pinterest site. So the one that I showed you was the loris art to loris now screened. And the other one is called feature Dolores. Now it's great. I have stores and Sawzall.com societies six, art of we are hearing Canada. And I sell on a ton of other POD sites through my agents. So you can check out names like megadiverse, studio L patent. I can't think off the top of my head right now. I really want to encourage you to really follow your dreams. I know I haven't really talked about that too much. And I want to say that I had a dream many years ago that this is what I would be doing. And it took me probably ten years to really get to the point where I felt fully fulfilled with the art that I'm creating. Thankful to work with two different agents doing a huge variety of different projects. I've had a lot of questions about how to find an agent. And I just want to say that one of the best resources of that I've ever found is the blog by Joan bearish. She is the queen of art licensing information. I'm not getting. So definitely if you have a chance check it out. Now if you haven't done so already, don't forget to hit that follow button up there. That way you'll be informed of anything that I put out clauses on our released them in any other posts that I might have. And don't worry, I don't overwhelm you. So I guess that's it for today's class and I guess I'll see you next week. Take care. Bye for now.