Lucrative Wall Art Design and Licensing | Delores Naskrent | Skillshare

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Lucrative Wall Art Design and Licensing

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

10 Lessons (1h 20m)
    • 1. Introduction and Overview

    • 2. Overview and Synopsis

    • 3. Using Brushes to Create Motifs

    • 4. Setting Up Initial Photoshop Document

    • 5. Preparing and Importing Motifs and Shapes

    • 6. Adding Textured Edge Finish

    • 7. Blending Modes and Color Schemes

    • 8. Perfecting and Finessing the Layouts

    • 9. How to Submit Art Properly to Your Agent

    • 10. Outro and Conclusion

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About This Class

Did you know the “wall decor market” comprised of “art prints” and “wall art” which many people buy at stores like Target or Bed Bath + Beyond generates $8B in sales? Yes, 8 BILLION. With $8B in sales, the wall decor market shows a real consumer demand for “art”. Wouldn’t you like a piece of that action?

It’s good to know…

  • The first rule of art buying is: Beauty is in the eye of the beholder 
  • There’s a ton of affordable art available for sale on-line and in big box stores
  • Graphic artists simply want to find loving homes for their work and recognize their customers are not necessarily art connoisseurs 
  • Designers make money selling their services, so why not add art licensing to the mix?de4d0219

If more people understood what art world insiders know, and felt empowered to act on that knowledge, independent artists would sell more art and make more money.

Well, I can tell you, “the hallmarks of the mass market wall decor industry are convenience and affordability. This creates a competitive advantage, especially if retailers like Target continue supporting artists by promoting and selling their works”.

(Scott "Sourdough" Power, Creator of NOT REAL ART. See link to full article in the links on the course outline document)

On the basis of product type, the wall art and paintings segment has the largest market share of 27.1% of the total wall décor market owing to better enhancing of the wall and the space. Many consumers have made a hobby of the collecting art. Gallery walls are now a “thing”, increasing the demand even more.  Consumers want to decorate their homes and accessorize their lives with affordable works of art, and therefore, they help support living artists all over the world. Redecorating a room with new wall décor is feasibly one of the surest ways for customers to change the overall look and feel of the space with minimum impact on the bank accounts. 

Have you been wondering how to create artwork that will become desired and in demand? Do you want to add to your income by producing gorgeous, large wall art pieces? This class will help you figure out a strategy for doing that…

In the mass market of wall art, being in the know on the latest trends is essential to staying relevant and on-trend with your work. I recommend you watch my Lucrative Trends classes. Being a designer comes with an intrinsic obligation to be in the know of the latest creative developments, worldwide, as this directly affects our choice of products, colors and styles. My classes help you identify the trends we see active in modern new visual art work. There is a reason we see certain colors, subject matter and themes become trendy! This class will teach you how to create collections of art that answer to these trends. That is what the manufacturers are looking for, following current directions as dictated by universal inclinations for decor.


If you are an artist who would love to transition from service oriented graphic design and selling only through your POD sites, your personal retail store, your e-commerce site, galleries and art and craft shows, this is the class for you. Learn how to produce the type of work licensing agents are looking for. Give them the type of art they need so you can start profiting from the sale of your art being sold on a mass scale.

My hope is that after seeing my workflow and explanations, you can better grasp how to plan the art pieces you will be creating for mass appeal large wall art.

Are you prepared to create artwork and paintings that will be licensed consistently? That’s completely viable once you’re able to forecast and research, and then produce a collections as outlined in this class. It has worked for me, so why not you?

The key concepts I will include:

  • Setting up a workflow to sustain mass production
  • An overview of what is trending now in home décor artwork and methods to create color schemes which are on-trend
  • Approaches you can take in your creative work moving forward
  • Trade secrets never before shared including specific interactions with my licensing agent
  • Accepted means for submitting art to licensing agents


This is a relevant course for you to take no matter what your purpose for the artwork you create. Let’s dig in, so you can be benefitting from your knowledge now in your art practice!


This short intro will give you an overview of the class. I talk about my inspirations, and also, the raw materials or components of my art.

Lesson 1: Inspiration, Examples and Overview

In this lesson, I will show you how I am inspired to create art for wall décor. I will describe the steps I take and what tools I use to make the entire process easier.

Lesson 2: Using Brushes to Create Motifs

Here we will look at the use of brushes to help us create motifs. I will give you a quick look at their creation and we will discuss colorizing strokes, using the blob brush and the use of the eraser tool. Complete motifs will be designed.

 Lesson 3: Setting Up Initial Photoshop Document

In this lesson, we will look at the masks applied to groups and we will discuss the blending modes I use. I encourage you to do plenty of experimenting to decide on what you like and what contributes positively to your over-all style.

Lesson 4: Importing Motifs and Shapes

Within this lesson, we will look at the method for importing shapes from Illustrator. We will discuss how each will be handled in my workflow.

Lesson 5: Adding Textured Edge Finish

During this lesson, I will explain how I add the textured edge to each of my imported motifs, after I import them. You will also see how I choose the components for my design, and you will learn plenty of other tips and tricks.

Lesson 6: Blending Modes and Color Schemes

Take a deep dive into blending modes in this lesson! Learn to use blending modes artistically to add interest and dimension to your multi-layered artwork. Also, learn how to create a color scheme and a group of swatches for use in this design and future designs!


Lesson 7: Perfecting and Finessing the Layouts

Within this lesson, we will look at all the steps necessary for really finessing the layout. You will be witness to my entire creative process. Many different aspects of design and layout are discussed. By the end of the lesson, we will have a finished layout!

Lesson 8: How to Submit Art Properly to Your Agent

In this lesson, I will cover a few pointers for saving, and I will share finder tricks for a final analysis of your collection. I describe my whole process. It may differ from the requirements of other agents, but the concepts are valuable.  


We will conclude everything in this lesson with a chat about next steps. I will share a bunch of resources with you!

Concepts covered:

Concepts covered include but are not limited to trend hunting, trend spotting, color trends, style trends, home décor wall art styles, the importance of color in home décor, mockups, marketing your art, colorizing strokes in Illustrator, creating motifs in Illustrator, Illustrator blob brush and eraser tool, automating with Photoshop Actions, Photoshop layers, Photoshop texture, Photoshop masking, quick masks, Photoshop blending modes, large commercial paintings, mass market art, mass market appeal, fulfilling home décor market, marketing for you art business.


You will get the bonus of…

  • an hour and twenty minutes of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • handouts explaining key concepts
  • a list of helpful online sites to further your education into creating on-demand wall art.

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer


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

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

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1. Introduction and Overview: Hi there. My name is Dolores Nas grunge. I'm coming to you from semi Manitoba, Canada. So that's cause I'm bringing you today is kind of a follow-up to the two lucrative trend forecasting classes that are recently published. I'm going to share with you my sort of bread and butter income. I've been kinda hesitant to do that. And it's because I didn't really know whether that would be something that is a real interests. However, I know that there are a lot of artists who are trying to make a living with their commercial projects like pattern design and so on. And I personally have found that I actually do much better with large wall art pieces. I've been represented for about five years by an agent who sells my work to online retailers, general retailers, and two galleries that sell art. I've created an artwork that's used in commercial buildings like hotels and banks. And the biggest chunk comes from people buy art for their homes. I now kind of want to share that with you, everything that I've learned. So I'm going to show you a specific technique that has been really successful recently. I submitted a particular collection about two weeks ago and within three days, I think it was all of them had been licensed. So I was pretty thrilled with that. I'll tell you more about that throughout the class. I'll show you the actual pieces that were licensed. I want to give you a little bit of background on how I create my artwork. And there are a bunch of different ways that I do it. We're gonna be specifically focusing on one. But I want to show you some of the items that I create for myself that I would then possibly scan in and use in the artworks that I create. All right, so some of them I do digitally. You'll see that in this course. But I want to show you a couple of the other things that I do. You can see behind me in my studio here a bunch of the work that I've been creating. I often do things like this where I will prepare a really textural Canvas and have a little bit of collage going on, something like this. I would scan in. I'll show you in the class some other watercolor that I created. I want to show you, but I just don't know exactly where they are. Another thing that I sometimes do just for fun is create collage pieces. It's not something that I would necessarily just scan and use as an artwork, but it might be something that I would use in a background or to add a little bit of texture. I have lots and lots of journals filled with things like this or like this that I might just grab the texture from to use in a background. You'll definitely see me do a little bit of this in the class. Okay? So one of the main things I'm going to be addressing is on how to create a really cohesive collection. When I was originally creating this kind of art were one of the comments that my agent made was you really have to work in collections. And honestly at the time I didn't really know what he was talking about. So I had to do a lot of research. And that's why I do that kind of trend forecasting class. Just to help me kind of put things in perspective. What am I gonna do this year? Helps me to see what's current, what's really selling. I've given you tons of information in those classes that will give you a great background on producing this kind of art. My main objective is to fulfill the demand for mass market artwork. This isn't Picasso, isn't Monet, but it's artwork that you can actually make some money selling. Are you ready to get started? All right, let's get to it. 2. Overview and Synopsis: Hi guys, welcome to Lesson one. This class I call overview in synopsis because I'm going to begin with you just kind of a rough idea of all the different things that we'll be covering in the class. I'm also going to give you kind of just an overview of the industry itself. Alright, let's get started. It's always an exciting day when you get something in your email like this telling you that you have licensed a bunch of your creative work. This was especially exciting because there's 39 artworks here. And these images were licensed to one company. Right now. They have an agreement where they can also be licensed to several other online direct to retail publishers like I Canvas. This means that they can even earn additional income as it's a separate market. So it was a happy day indeed, this class and bringing you to share with you the process that I went through in creating this kind of a new series of art that I've been doing that really, really textural. If you were in one of my classes about trend forecasting, you would have seen these slides, which are slides that I prepared for that class with regards to trend forecasting for the 2021 retail season that included things like color, style, different categories, and just a variety of different objectives. And these were things that I am going to work towards this year. So this is a style that I have just most recently created and submitted. And I was happy to say that all of the ones I submitted in my last batch have been licensed. If you take a look at my trend forecasting here and in the background, you can see the little thumbnail of the document in Photoshop. Keep an eye on that as I quickly review these slides and you'll see that I have talked about that in my trench forecasting class. I've East my 20-20 one color palettes that you see here in Illustrator. I basically base them on some of this information that I compiled. In fact, this one here, this artwork was based largely on the color palette dipole rate from this graphic here. One of my objectives was to produce a botanical series and I wanted to add a lot of texture to it. And you can see here some of my inspiration, this one and this one. And I knew I really wanted to bring in a lot of texture. It's I loved this image here. You'll see when we go through the Photoshop document how that translated into my own original take on it. If you're interested in this set of slides, definitely go back to my trend forecasting class, where I really talk in depth about all of these different categories. But for today, what we're gonna do is focus on the creation of this master document, or a type of master document that helped me to create this botanical series. And to make sure that it was really cohesive, we're going to be using a lot of layer masks, creating group layer masks. And we're gonna use a lot of blending modes, a lot of adjustments with hue and saturation, and support documents like this one that I created in Illustrator. We're going to do things like work with brushes to create some motifs. And we're going to definitely talk about color schemes and color Predictions for 2021 and on how to basically plan this sort of cohesive look to a series or collection that you're putting together. You can see here in the finder how these collections kinda broke down. I definitely use the Finder as a tool to help me organize my collections and figuring out whether or not I have a cohesive look going on. So I will review that with you as well. So like I said, lots of moving parts, you're going to learn a lot. And I can tell you that these are secrets, trade secrets, My precious trade secrets that I'm going to be sharing with you. You'll be hard pressed to find this kind of combination of informative lessons to assist you in creating collections that are lucrative and have a real mass market appeal. Alright, so I'll meet you in the next lesson where we're gonna get started. See you there. 3. Using Brushes to Create Motifs: Hi guys, welcome to lesson two. So in this series of artwork that I produced and in the project that we're going to be doing, I used a lot of brushes to create the motifs. So in this lesson we're gonna just kinda focus on that. Let's get started. When I was just at the beginning stages of this project. One of the first things I did was to go ahead and create a bunch of motifs that I thought I might be able to use. A most of these I've made using brushes that I created myself. I'm going to explain the construction of the brushes for the motifs. Now I've got lots of courses that talk about rush creation. So I'm going to just kinda put it in a nutshell for you. When I started working on this project, I landed roughly in my head kind of I did a few sketches of some of the motifs. And then I decided to go straight into Illustrator here to create some of these silhouettes that I could use in my document. I wasn't exactly sure what I would need. So I went through and created probably an initial set of maybe 20 motifs. And I mainly did that using brushes. So these are some of the brushes that I used. I created brushes as I went along. And the way I created the brushes was with use of these motifs here. Now I do a lot of courses on Brush construction and brush use. So I'm not gonna go into too much detail here, but I will explain a few of the basic things that I did. So to create a leaf, I generally did it using the pencil tool. So enter on your keyboard would give you the pencil tool. Draw kind of a rough, leaf-shaped fill it with black at a stem. I usually do this with the Rectangle Tool and I generally keep them pretty centered on kind of one line. I give you a lot of detail on why in some of the other courses by just suffice it to say that it's easiest to deal with a brush that is made this way. If you make them at an angle like this, you can't predict where that stem might land when you're drawing with it. So just trust me, build them like this and you'll be good for then once I have the basic silhouette of the leaf or branch done, I would go to art brush and click OK. By always use tense as my polarisation method. The main color that I used in here, other than black when I was doing the silhouettes was white. But you'll see in a minute why it's good to set this at tense. Most of these that I've previously created, I've done in this way and, and double check. So I think there was a couple here that weren't. So once I have the basic leaf drawn, then I would use one of the stem kind of brushes. Draw a stem, nothing fancy. You can always select it and make it thicker here. And then I would grab one of the brushes, ship like a leaf. Go ahead and add leaves as I saw fit, and then just move this guy over a little bit. Now at this point you can shape it if you would like. You're not gonna be making a brush out of this. So you can go ahead and start adding your leaves. Now, in this case, this one is way too big for what I need so I could, I haven't used it yet, so I'm going to just reduce it in size and make it a little bit more useable for what I'm doing here. Now, I like to vary my leaves so that they don't look too obviously created with the brush tool. So I've got a couple of different versions, obviously thought someone I used for that. And I'm going to say leave the stroke solo, stay the same. But you can see that now I've got a little bit of variety. I would go ahead and draw my complete plants. The other way to add variety is to just simply change the way you're doing that particular drawing. So once you have your basic plant or silhouette, the way you like it, select everything, Expand Appearance. Once the appearances expanded like this, you can go to pathfinder and unite syllabi all in one piece. And I usually simplify. That makes a lot easier for me to do alterations and adjustments. So I might go ahead and do something like this where I go through and make sure that the motif turned out okay. So I mean, I generally spend a lot more time on the motifs than what I'm showing you here. I perfect them and a whole bunch of them ahead of myself so that I am kind of prepared for at least initially creating my document. Now something like this leaf here, I would use the pencil tool. Remember that enter on your keyboard, draw the basic shape and fill it with block. Then I would use one of the other brushes. Unless maybe try this one here, get the brush tool. And this is one of the brushes that I can change to white. And then I would go through and draw you the details that I want to cut out of the belief. Apparently I can't talk and draw at the same time. Once you've got what you want there again, something I probably spend quite a bit more time on. I would expand appearance and in this case go to pathfinder and minus front, I'm left with just a nice little silhouette that I could alter if I wanted to. Again, I would simplify first to make it easier to make the alterations and I would just make a few changes to make it look a little bit more realistic. So I've created just two or three here in the time that you've been watching me, I wanted to show you a couple of other things here to help you create motifs faster. Let's use this one here. And I'm going to create something like these that I've got here. So of course we're going to draw in black. And what I would do is go ahead and draw a few leaves. I'm not being too careful about this bottom part here because in a minute we're going to be doing something to unify all of these. So I would go ahead and expand appearance. Once I have the appearance expanded, simplify it a little bit. And then I would use the blob brush, which you can access using shift to be found right here, blob brush. And what the blob brush does is it actually paints shapes. So if you take a look at it here, once I draw with the brush, instead of just being a brush stroke like it would be if I use one of these brushes. So that is, you can see that that is a shape. If I was to switch to the brush tool and draw, you can see that it remains a stroke. It is not a fillable shape or a filled shape. I would have to expand it, but I can take a shortcut here and use the blob brush. And what it'll do is allow me to draw it as a shape. And you can see here that as I'm doing this, I'll enlarge that a little bit. As I'm doing this, the shapes are defining as long as they were previously selected. So have them all selected though in and unite. Had I originally selected it, it would have worked. So here I can add a little bit of detail. I can enlarge or reduce the brush size using my brackets. You can see that as I'm doing this, I'm getting an actual sheep pen. It's adding to that original shape. So that could be a really useful tool. Now, if you wanted to erase from here, you can also use the eraser tool and it does the same thing where it erases in sort of a cheap like way. That makes sense. So it's not actually like a pixel based eraser that you'd have in Photoshop. But it works really great. And that's one of the ways that you can do that other sort of relief I was showing you here, you couldn't VAD in detail using the eraser tool as well. So you can see here, actually let me select it first and let me hide that guide. But if I make lines with this, it cuts it right out of that original shape. So this is really valuable because we're creating these motifs here. Clip Art sort of speak very quickly. And this is going to help us when we're creating our layouts because we have this here at the ready. We don't have to stop and necessarily create these. As we go along. Let me select this first. And you can see that I'm adding and that could be really cool. There are settings that you can change here. You could have the blob brush stay selected. You can have it merge only with selections. You could change it so it's not smoothing out a 100% for you. You can change the actual shape. You can change whether the pressure that you put on it with your stylus affects all of these different settings. So my new brush, you can see here, behaves differently than what it did when I was originally using it here. Alright, so that's kind of a Reader's Digest condensed version of brushes and creating them in Illustrator to create really quick motifs that you can use in your design. There'll probably be a few other things that come up as we're creating our big layouts. So at that point I'll explain anything that's relevant. But I think we can end this lesson now. And I will meet you in the next one where we're gonna take a look at our Photoshop document setup. All right. I'll see you there. 4. Setting Up Initial Photoshop Document: Hi guys, welcome to lesson three. In this class, we're going to take a look at that initial Photoshop document. I'm gonna talk to you a little bit about masks and the basic setup and how I just create basically a master document that I could use for several artworks. Alright, let's get started. In this lesson, I want to show you how I set up my document to create this sort of mass market wall art. It basically boils down to figuring out what kind of a look that you want. The very first one always takes longer because you're trying to work out all of the variables. For example, I wanted to create something that I've been kind of successful in selling already, which is this highly textural art. I've done two or three different series using this kind of a technique. And I've kind of perfected my method. I'm sure there's a 100 different methods for doing this. I've seen a lot of different courses describing how to create texture. You can create the textures from scratch yourself using some of the filters that you find in the filter gallery IS basically just purchased a few really key textures and use the brushes to create everything else. So one of the things that I have done is to create layers are groups with masks. And then I insert everything I want textured into that particular folder. Sometimes I vary the texture, so I'll have several different folders with textures as their masks. And in a case like this, you can see I've got three groups here. They're not even being used at the moment. These are just different textures, but I keep them resident in this document. And I kind of use this one as my master kinda starting off point, each of my other documents that I've created in this style pretty much have the same things in them. So I'll have two or three groups with masks. I'll have probably a specific background that I'm using to keep it consistent. I'll probably use the same one on several, and all of them feature the use of masks. Root mouse. Mainly. I'm going to go through and explain to you how I create the masks and the differences between masks and also how to get the masks. That's going to be sort of the main skill that you're going to need once you have the document with the mask set up, you'll be surprised how easy it is to create multiple art works with the same look. I will explain the use of the Illustrator document and how we use it in conjunction with this Photoshop document, will individually at least in some of the elements, some of the silhouette that we've created, some of the big shapes that we've created. Then we're also going to do things like Ruffin. So I'm going to zoom in here so you can take a log. Everything that we put into this document will also have rough edges just to keep it having the same sort of consistent look. So now we can start constructing our document. Basically we've got a blank slide here. For the image size, I'm gonna do it 24 by 16. Watch I prepare and send to my agent is quite often 48 by 32. So this measurement will work just fine for what we're producing. Sometimes I do it at full size with 48 by 42, and I always do to 300 pixels per inch. I'm finding with these particular techniques and this kind of style that I'm using, I can get away with producing it, it half the size and bumping it up to the full size, at least for the purposes of this class. That's what I'm going to do. Otherwise we're going to be a little bit slow. Alright, so I want to draw your attention over here to my layers palette. And this is what I would use as my basic document in it. I've got this mask on my group. So this group here at the moment just has the background and the background textures in it. I'm going to use option and click on my mask so you can see it. And I see I'm a little bit off here and let me just move it over this mask I have created myself. It's not one that I bought. It's something that I created and it's really rough, as you can see. It's basically just a bunch of paint around the edges. Be main area is white. There's a little bit of texture in here that I've kind of lightened or faded back a little bit. A lot of times I'll open it up, take a look at it. Do a little bit of painting on here before I do much else. So I would go into my brushes palette here. I've got a bunch of my favorite brushes in a folder. I've got all of Kyle's brushes, of course, because they come free with Photoshop now. And I've got like his old mega pack on a bunch of spatter brushes. And if you've ever gone through and picking a really good look, you know that Kyle has hundreds of brushes, so I find that the easiest way is just to pick a few favorites and put those into what I consider a quick access folders. So that's what this is here. So these are a bunch of my favorites and these are, a lot of them are really textural and really great for this particular technique that I'm using. So I would take a brush and I, for this particular thing that I'm doing, I would be painting mostly in black. So this is one of my favorites for doing this kind of extra edge. I've got the brush pretty big and I'll just stamp it here in the middle. And you can see, that's kinda look that rush gives you. I've got a bunch of things set on it so that if I paint with it, you can see it kind of varies in the direction this course isn't about brushes, so I'm not going to spend too much time on it because a lot of my other courses have a kind of information about this. You might want to check out that sketchbook course there recently did, because I did use a lot of his brushes to do work on the sketchbook artwork that I was creating into a pattern. So I would go around and you don't. And some texture in around the edges here, maybe grab one of the spatter brushes and do the same, enlarge it fairly big. Most of his fatter brushes are set at multiply, so that's fine for what I'm doing right now. You can see that I'm kinda just lightly painting with it to give a little bit of grade. In a case like this where maybe I've got just a little bit too much about other brush. I would just go back to normal setting on here and maybe switch to white and go back and do a little bit of white over some of these areas. So we're going to get a good amount of texture in there. And Yeah, basically that's what I do. This can always be adjusted and you can actually even be painting and working on your mask when you are on a layer within that group. So I can show you that as we go along. So you can click out of the mask quite easily by just clicking on one of the other layers. And I'm going to just turn these two on so you can see that texture that's coming out around the edges. The way my document is set up here, I can drag all of this to be within this layer. So you can see here that if I click on this little arrow near the folder and a close the folder, you can see that everything that I had in here is actually being affected by that mask. So I'm going to show you a quick here. I'm going to, you see I've got my group highlighted here in the Layers palette. I've got my brush. Let me switch it to block. You can hit exon your keyboard to switch back and forth by the way. And if I were to start painting here, you can see that I'm painting on my mask and I'm creating a little bit more texture. So sometimes it's really great to do with your artwork, layers kind of showing so that now you can kinda see immediately what the effect is going to be. So I just kinda put a bit more in the corners here. And I think I'm gonna stop for now is just because we can move on to some of the other things I want to do. So that's basically the masks. In a nutshell, I am going to be probably touching on further information about the masks as it becomes relevant as we go through in class. Okay, my next step is generally to add a background layer. Now, right now I've got this one in the foreground, and it's kind of on top of all of this other stuff. The reason that I've got it like that and you can see I'm off a little bit on that one too. Went over a little bit. Now, this one, in this case, I've got the top of the stack, and that's because I've got a blending mode here chosen that will make everything beneath it be affected by whatever the choices. So at the moment, I've got it on hard light. Now sometimes what I do, I could duplicate this layer and let's print just above those other two textures there. Actually, I didn't duplicate. If you hold down your command and Option key, we'll duplicate. And let me turn off that hard light one that we had up here. This one, what I could choose to do is experiment by going through these blending modes. And you see as I'm scrolling through them, I'm seeing that the effect on all the layers below it. So depending on what I was looking for has could be another option. So I'm going to leave it. I think I'd like overlay. I am going to reduce the opacity here. So I get a little bit more of my color showing through and I'm going to leave it at that for now. So each of these different documents, I probably did something different with that layer here of God, it hard light and i've got it just above my two painted layers here, again, a hard light. So maybe I was fairly consistent. Ok, here is one that set at Color Burn, and this one is kind of housed within another folder of texture, and this one is at the bottom here. Let's see what, what am I going with this? What hard light again. So hard light appears to be the winner on a lot of these. So what we're gonna do in the next lesson is start importing some of our shapes that we're going to work with. So I will see you there. 5. Preparing and Importing Motifs and Shapes: Hi guys, welcome to lesson four. In less than four here I plan to show you the import of some of the images that we created in Illustrator. There's gonna be a lot of other stuff that we'll review as we go through this class. Alright, we're going to talk a little bit about how I save these to be submitted to my agent. Let's get started. Amongst the things that I'm going to be doing in this lesson is bringing in some of the shapes that I created in Illustrator. I'm going to save this document and I'm gonna show you some of the things that are required for me when I am going to submit artwork to my licensing agent. So I'm going to save it here in my assets folder. Let's pretend I'm adding one in-between these two. And I was doing all of these with sort of plant related names. So let's just, for lack of a better imagination at this exact moment, I'm just going to call this pretty pedal. I'm not even sure it was going to have petals, but whatever this is, just to let you know how I go about doing it. I do too is I copy the name or the next step. So I hit save here and of course I'm saving it does layers and I always submit in tiff format different agents, different companies will have different requirements, is the preferred format that I have been asked to views. And part of it is to do with the type of compression that's done with these files. And it makes it more suitable for enlarging a little bit if necessary. So I'm going to leave it at that and I'm gonna hit save. I leave all of these settings the way they are. Hit OK. And you can see the name has popped in there. Now right away I go into the the document info shortcut for that is Command Option Shift I. When you're trying to change it, Images option command I, this, you just add the shift and you're going to get to this part of the document where you save things like, well, I'll show you in a second. So I had just done that copy on the document title. So I just usually paste that in here. And actually before I do that, I normally go in and there's a particular series I've been working on. I have saved a template for this particular function. So I would go to the one that is in that series, the template that I created. I know that this moss hedge or whatever it was has all the information that I want for this particular document. I changed the name up here to the one that I just copied. And all the rest of this information here is stock that I have to include when I am submitting. So of course I put my full name in there. I put my title in here, kind of a brief description of what the artwork is. I use keywords in here, and this is really important. This is how your artwork is searched out. I definitely have my name in there, kind of a brief description. And if the words that I think people might use to search for my artwork. This is important to the buyers because this is also something that leads people to their websites. So a company like, let's say I Canvas to which this is going to be licensed. This information is important to them, so that's why I have to include it. I also definitely make sure that I've indicated it's copyrighted and I put my information the year and where I'm from, and this is all the information I need for this particular agent. This may vary, so this is something you need to find out about when you are dealing with agents. Here I click OK and you'll see now that the copyright symbol has popped into my title here. So now it's all officially ready to go. I wanted to touch briefly on this background stuff that I have going on two textures. Now these are something that I created myself. So I would go, I usually would spend a day, let's say, going through and creating a whole bunch of textures and then scanning them. So I have a bunch of things like that that are ready to go. Here's what other campuses I showed you in my intro. And some of these were actually things that I pulled out of the recycling where I worked at the school. Kids would be throwing these into the recycling and I would grab them just because they had a really interesting area of texture. Some of them were Inc. work, some of them were ink washes. Some like this are canvases. This was some kind of a temporary experiment. And then I went back and did some inking over top of some of the motifs. Those are basically the components that I would put together to create one of these wall art pieces Once I have that main document. So let's open up that when we were working on again, once they had that main document with its backgrounds in, there was groups with the masks on them. I would just start to import my images. All right, so here in Illustrator, we've got those shapes that we've created. Let me just get rid of that. And let's grab this one. And this one. If you hold down your command and shift, you can select more than one at once. I'm actually just going to bring one in outta time. So I'm going to copy over to my Photoshop document and paste. I'm going to bring it in as pixels. You can do a path as well, which I do sometimes for some reasons, and I'll point those out when we do that, I kinda roughly size it to what I want to move it a little bit over to the side, go back, grab another one, same thing, Paste it as pixels. Sometimes at this stage I changed the angle more size as I start seeing in my mind the kind of layout that I'm looking for. I think I need something kind of tall and slender. So let's maybe grabbed this one. I didn't really use this one very much. Focus might be, Well, it's definitely going to be an artwork that I would submit if I go through this work to do it. Okay, so I've got three components here. I'm going to show you the outline, creating something with an outline. So lets just grab something that we can do that with. And what's something that's not too detailed, but not too plain as well. So I'm going to grab this one. Actually somebody hit copy and so on. Thing about working between Photoshop and Illustrator is that there are a 100% compatible. You don't have to save the file. I have to, let me just make a new layer. Now in this case I'm going to hit path and a hit OK. You'll see that it comes in as a vector. So here what it's done is it's interpreted it as if I am wanting to make a mask out of it. If I go to the paths here, the paths palette, I can see the path there. And what I would do is get the pen tool and you can see the image now, I select it. And then what I'm gonna do here is stroke the path. Now the path would be stroked with whatever my last brush was. So before we actually stroke at, let's just take a quick look at the brush. I'm going to actually switch it to being kind of a basic kind of a brush. This is like a guage brush. You can see up here, up in the upper left corner of my document in the control bar, can kind of see the texture of the brush. So now let me go back to my pen tool and select it. And I can go to stroke the path and it will stroke it with whatever brush I had their elected. Now in this case, I'm not going to simulate pressure. What that does is it kinda gives her thick and thin lines. I don't want that for this particular application, I'm going to hit OK. And now in the background my brush has been created behind those other two. And that's kinda hard to tell from that brushstroke. Kinda see here on the curves that is given it a bit of that texture from the brush. This is definitely something for you to take some time to experiment with tryout different brushes. We're gonna be adding another effect to this to make it look a little bit more vintage or textured. So I think we can end this lesson. And in the next lesson, I'll show you how I go about adding that texture. Alright, I'll see you there. 6. Adding Textured Edge Finish: Hi guys, welcome to lesson five. So in this class I'm going to show a you application of texture to these motifs. And we're probably going to do a little bit more to add interests. Alright, let's get started. So we've got quite a few of the components that we need to start putting this design together as outlined leaf that we did. I'm going to just Rasterize Layer. So I right-clicked on it or control click and I'm going to hit Rasterize Layer. I want to just apply the layer mask. Control-click here on the Layer Mask and apply the Layer Mask, then it's ready to go for the next process. So before importing some of my shapes, I think I'm gonna go ahead and show you how I add the textural edge to it. So what I've done in the development of this kind of style is created some actions for doing some of the sort of repetitive tasks that are involved here. And one of them is the creation of these actions. So I've got a group of actions here. We close these other ones off. You can see I'm all about the actions. If I can figure out a way to do something repetitively and then create an action for it. I definitely take the time to develop that. So what I wanna do is give these edges kind of roughness. A lot of times this dictates how rough I want to produce the edge because I know that I'm also going to be enlarging it here. So I think that either rough watercolor or course riches would be what I would want. So let's just try the rough watercolor. So the entire action is here. These are individual steps that I would have had to have taken if I wanted to get this particular effect I've recorded as an action so that I can just press this goal button here. And all of those steps are done for me automatically. So let's give it a shot. So it technically goes through all these steps. You can kinda see it here in the Layers palette. Let me try that again. I was on the wrong layer, so it's created when the edge on this one instead. So that looks good and actually that amount of texture is just fine for me. So let's hide that one hand will now do it with this one. Ok. You can watch over here. You can see things are happening. When you saw the red go across here, it meant that a layer mask or a quick mask was being created. And that was one of the steps in my action. Show you that right here, set quick mass. And now you can see that the texture has been applied to all of the edges. So making actions for something like this is really a smart way to go because I've got how many four liters here currently add probably at least three or four more of the big colored sections. And I produced about 20 or more actually of this sort of a look. So that would have been redoing these individual actions. Let's do the math. Probably at least a couple of 100 times. So it was definitely worth the time it took to develop the action. I am going to quickly go through now and just do that to each of my motifs. Let's try one just with course regions so that you can take a look at the difference how much rougher horse riches is. So let me just play that. I can always undo it. So, so you can see that one has. A lot more texture going on. So if that was too much and I wanted to undo, I would just go back the several steps. If you take a look in your history palette here, you can see the steps that were taken in the action. So I would go to it would be probably here. Yeah. So that was that first selection. So now I can just de-select, go back to the actual action and go back to rough watercolor and apply it. So now that one's done. Now this one is done. So you can see they're all done now. This one I had over the edge, but you can see that the actions still did the full motif. And here in my layers palette, you can see that there are layer masks that were created. Usually I just go through control, click on them and apply the layer mask so it goes back to normal. Sometimes this is useful, like if I wanted to specifically put a texture on that particular motif, I could use this layer masks to do it, but I'm not going to be doing it that way, so I'll just apply them all. Ok, so those are all ready to go. My next step is generally to select a couple of the big colored shapes from the other document, an illustrator. So let's go back to that. And yes, you could create those in photoshop. No doubt about it. This is just the process that I've developed that works for me. So I'm going to copy it, take its Photoshop and paste this one I'm gonna do ask pixels, that size will be just fine. Go back, grab another one, copy, back to my document paste. Hit OK. And let's get some kind of a funny shape. I got here to work with you be I'll try one of these sometimes what I do because these are all different ones that I've used is I'll take something that I know I've used and combine it with something else that I've used. Select them both for the Pathfinder, unite them, and then that gives me a shape that I haven't used before. I will simplify it. So I just hit the man period, which is my shortcut for simplified. You can go right into the panel and make changes to the simplicity there. It changed it from 30 to 20 points. Okay, good enough. And then what I would do is maybe go in here and make a couple of other adjustments just so I have something a little bit different to work with a minus key here, which is drawn the Pen tool, you hit minus and you'll get this, which subtracts points off. So I've got a different sort of a shape here who sees like that? Or the other way to go, of course, is to just take your pencil tool is n on your keyboard and drawing else. Let's fill it and let's just take both of these in. Kind of weird-looking. But sometimes all you need is like the one edge or something. So that's what I'm going for it. So I'm gonna paste that. So now I've got all of these big bold shapes to use. I'm going to actually separate these two sum just using my last su, command J. Actually I'm going to cut and paste. So you saw that if I wanted to actually just make a duplicate of whatever I have selected, then Command J would work. Okay, so I have now all the pieces that I need to start my composition. So in the next lesson, we're going to do some of that work. I will see you there. 7. Blending Modes and Color Schemes: Hi guys, welcome to lesson six. You can see it's almost impossible to separate all of these different things into separate lessons. I'm trying to give you the basic overview and I know some of these kind of overlap. But in this lesson we're going to just do a little bit more of that. Let's get started. So now I'm going to go ahead and add that texture to all of my large shapes. And I'll do a quick timelapse for that so that we don't spend too much time because you've seen the process. So you know what I do to get that done. I just want to point out here that if you control click on the layer name, you won't get c. Apply Layer Mask, the selection available to you. So always will down your control key and click on the masks or control key. 5a are mouse, and now all of my shapes are ready. All of my motifs are ready. And I'm ready to start kind of constructing or laying out my motifs and creating my actual design. One of the things I think I'll do is just quickly colorize each of these motifs as well. Let's create a color palette that we're going to use for everything. So what I've decided for my color scheme is something like this. This is an artwork that I created for another series. You probably recognize it if you were in my digital alcohol ink class, I think I'd like to develop a few artworks in this particular color scheme. So I just want to show you real quick how to grab a bunch of swatches. Sometimes I create a swatch document like this as a bit of a mood board if I'm starting a new series. So I'm just gonna show you how I go about doing that. So I select the eyedropper tool, which is i on your keyboard, you can sample the color. It's kinda neat if you hold down your or sir, or I guess it would be your mouse button. If you've got a mouse, you can kinda travel through the document and sample colors. So I'll go ahead and do that for a couple of them. And then what I often do is start composing my swatches here. I had just creative square filled it with one color, this light blue, and then I copy, you get into a kind of a full row. I think it had three and then I copied that three over here. And then I copy the six down to make this other role, which is kind of a standard one that I have and I just open up whenever I want to do this particular exercise. So then I would go back up here with my eyedropper and sample another color back to my bucket, which is G on my keyboard and put it in. So I and G are my two shortcuts for this particular process. Sometimes I'll just go in here and darkness slightly if I know I want another level or another tone of that, one of those same colors. And a couple more. This would be a perfect example. I would double-click on this and just go and create a darker kind of a toke color. And maybe in this case I would go for a slightly brighter teal color. So I've got a full range here. What I can do here as well is to sample the color and add it. You could see here actually it's added it to my swatches here. You can, if you want to create a custom group, which I have here, all I have to do is sample the color and then click this plus, and it's going to add it here. And this is probably way more colors than I actually need, but I just want to show you the process. So now I've got this complete color group. You can actually reorder them if you wanted to. Just biking on the one that you want to move and just dragging so I could arrange this smell of my Blues were on the top row and all my cream and beige color as we're here on the bottom, I guess, kinda peachy colors. I've got a full arsenal of colors here. So now I can just click back to my document and you can see my custom color group here. I can also save this one if I'm going to use it for multiple documents. So I would go to the export here, export selected swatches. Name it something that you'll recognize, maybe custom seaside colors. Click OK, and you'll always be able to access that color group in whatever document you're in. So now I'm going to just quickly go through and colorize all of my different items here. Are going to do that. It just grab my bucket again with the G on my keyboard, and I just grab whatever color I plan to use and drop it into. Oops, I'll put onto whatever motif I have selected here. So I'll go through right now, I'm just kinda randomly selecting colors. There's definitely going to be a point at which I really consider how these colors are gonna work together in this particular layout. And figure if there at least partially colored, We can start mulling through an actual idea that because one of my two white was pull this one up a little bit so I can see what we're working with and the swan going to neutral and that big shape in the background. Okay, so now what I do generally is I start placing those into the layers that I want to use for adding texture. So I'm just going to open up all those deep invisible and I'm going to drag my shapes randomly into the different folders. Again, this is something that we're going to be definitely experimenting with. You can add more than one into a folder so it can have the texture applied because we're going to be using some blending modes right away to start making some of this work. This is where your artistry really starts to come into the picture. So I've got everything in layers. Everything is colored textures there with all of my icons, except for maybe this guy track that went into here. And you can see my texture coming through real nicely on those southern Now I'm going to go through, and just one at a time, I'm going to experiment with blending modes. I may be doing this as a time-lapse because this is one of those things I have to kind of concentrate on. So if I'm talking, I might not be able to work at the same time. If there is anything significant, I will definitely stop and explained. So this is kind of like going to A clothing store and trying out a bunch of different clothes. You're really experimenting with these blending modes to try to figure out something that might work. And it's definitely a process. You don't land on something necessarily right away. The layer of these items also plays a part. So at times, you'll see me grab the whole folder and drag it down to a different location. As I worked through this puzzle, sometimes the blending mode, none of the blending mode, it's worked for me. So in that case, I may also change the opacity here in the layers. Everything I think I wanna do right now is changed the background Alabama. So I'm going to change this one here, and I'm going to use hue and saturation to do that. So I am using my keyboard shortcuts option command you. And I'm going to hold my Option key and click this to reset everything back to 0. And then I'm going to just kind of experiment with a few settings here. You may choose to colorized in order to get what you want. And right now that one is interacting with the layer above it, which has a blending mode on it. So I think I'm going to click OK here and then go to this one and make some changes. And that I kinda like when you look at overhear my overall color scheme that I am me to work with. I think that combination, the background works really nicely. Another thing that I like having open here on this side is the navigator. And like having that open because it's kinda giving me a thumbnail preview of my artwork. So I can work kind of full size or at this size that I'm at right now. Or take a look over here as I'm making changes just to be sure that I'm liking the overall layout. And you can see how these blending role is so incredibly fun to play with and can give you such a range of styles. I could see myself doing a whole series like this, for example. Also these blending modes, you have kind of a different feeling to each of the like as I'm making these choices, I'm liking the sort of interruption, like the light that each of these gives me. And the cool thing is it's non-destructive. So you haven't really made a full-on change to that. You can go back at any point and change the way it's blending. So I'm going to leave it at that for now. We haven't really done anything with this other one that's peeking in behind here and I don't remember where I put it. Hang on. Your adult. So maybe I'll move this whole layer up to so I can see what I'm working with here. I also really like how these different blending modes can create that subtlety, you know, so it's a background item and therefore doesn't fight with another item. It doesn't compete with all of the different icons, just gives kind of a really soft and subtle effect. These are the kind of design choices that you're making as you go through this process. This might be one that I would choose to duplicate. Command J is full-on duplicate of that. And I could slide it over and maybe rotated or flip it and just have it like a super subtle kind of a filler in the background there. Now you can see that that particular background image, she's going well beyond the edges of my art board. So there is room to move it around to change a little bit, but I think I'm gonna leave it there. I really like the brushstrokes and never the matter in the background here. So I'm gonna do a little bit of work off camera and I will work on my layout a little bit more. I've got a definitely fix up this area over here. And in the next class we're going to talk about perfecting and finalizing the image. All right, I will meet you there. 8. Perfecting and Finessing the Layouts: Hi guys, welcome to lesson seven. So we're getting there. I know it's kind of a long process, but believe me, after you've done about 20 of these, it starts to go faster. I hope that you've learned a bunch throughout on how I kind of streamline the process to make mine go a little bit faster. Let's get started. Okay, so I've made some minor changes here in positioning and whatnot. I've got a couple of things I thought I could take a minute to show you because they're not necessarily things that are well-known. If that makes sense. I'm gonna select this layer. So you can see that when I am hovering over the layer, as long as I've got my move tool selected, the smart guides show me went layer, I'm on and I'm on the Move tool because that way I could switch to another item really easily holding down my command key. So depending on which item it is I want to effect, I can easily selected by doing just a click of long as I've got my command key held down. So I want to change this one. I think I've got generally the layout that I want. I want to change the shape of this one in behind here and just enlarging it is not really going to work for me. So as I have selected here, I'm going to grab this. So I'm clicking on the work tool here in the options in the control bar. And I can choose to now individually move the points. So that's something you can't do with your regular transformed tools. So you can see here as I'm pulling than adjusting, that I have a lot more control over the shape. And that's just perfect because I want to kind of make the shape follow the branch that I have there in the background and have to be perfect. But what I wanna do is just kind of create a different silhouette for that particular color shape. So it's getting closer to what I want here. I mean, you could also go back into Illustrator and draw a different shape and then import it. But sometimes I just find it's easier to do this kind of thing right here in Photoshop while it's interacting with all these other layers, I'm gonna flip this corner around a little bit and bring that one in a little bit more. And then I think I'm pretty good happy with what is happening there. So hit OK and that commits your adjustments. And also want to bring this one below this one here. And I think I'm going to experiment for a second here with these different blending modes to see if there's something I prefer is great, don't too. Sometimes color or luminosity works well. You'll find that you've got some favorites when it comes to the blending Modes, you'll figure out what things are working for, the particular look that you're looking for. And I think I'm just going to leave it and reduce the capacity instead. You'll pass city instead. If I can do is go into hue and saturation option and click on the Cancel button to set it all back to the middle. And I'm going to just saturate it a little bit more and also can experiment with the Hue, see if there's something. Better than that one kinda health possibilities doesn't, that's really worked with the color of the branch, but I actually don't mind that as far as working with my color scheme, will say OK here and look back at our swatches. And that really works with that doesn't act. So let's make changes to this branch instead. So they might just be wanting to go quite a bit later on that and couldn't do saturate. And you'll often find that things like this happen where you make one change and then everything else to change. So that's something to keep in mind. But I think I'm gonna grab both of these layers together. Oops, didn't mean to a duplicate. I'm going to grab that and that layer together and make some changes. Meaning wise. If you want to rotate from a particular spot, I like that positioning at the top here. So I'm putting my pin in there and then I'm just going to rotate it and it'll stay anchored in that spot. Okay, So that I like, and now the only thing I'm finding is that this corner is just way too heavy with detail. So I want to do something about this one here, rotating that one slightly. And I'm going to just pull out up here for a second and get it right out of the layers. And I'm picky when it might do is just fill this area down here with the color. I hadn't done any blending modes or anything. So normal is the setting here and I'm gonna get my Paint Bucket tool. I'm going to option click to sample that color. And then I can just paste for fill in that corner and drag it back down. A kind of like that better. It really simplifies this corner a little bit more. Doesn't have that other jagged edge there. And this, I might lightened just a bit further. Think because my can actually make a bit bigger. I like these outline leaves for helping me just add a little bit about sometimes I'm kind of going for your basic rule of thirds here, compositionally speaking. And I don't like that. This is right in the middle, so I'm going to move it down a little bit and lighten if just a tiny bit more laughs, giving a lot more strength to this one here. But I think I want to also add some light to it. So I'm not sure what blending mode, but let's just scroll through these. I kinda like that. So keep that one in mind, lighten. That one's nice, too hard light. So that's Leighton and that's hard light. Not the dominant land at lightened. And last thing I'm gonna do here is just pull this shape in a little bit. What I'm doing is trying to get rid of this sliver of light along this side. So I'm just going to move over this other big shape. And yeah, I like this. This is one I would be very happy to submit. I think I'm going to duplicate this shade of command J duplicates bilayer and earlier that into this corner up here, just to add further balance with this area as well. So what do you think so far? I'd usually kind of sleep on it. Take another look at it with a fresh set of eyes the next day or as I'm compiling the whole collection, quite often, I go back and make other subtle changes to improve the design. You can see that my textures have worked out great. Everything is textured. Looking at my border here, I might make an adjustment over here. So let's scroll up here. Remember this one I had painted in some of these edges here. I think I'm going to just kind of neutralize that a little bit. So I'm gonna get my spatter brush. As long as I've got black here is my foreground color. I'll be painting in black on the mask. See, I've got the mass selected. So as long as you have it selected, you can go in and paint and you're painting directly onto the mask so you can see the black. I'm adding some areas in here. I can switch by hitting Excellent my keyboard that gives me the white as my foreground color. And now I can actually go in and add a little bit of that. So I'm going to get smaller. I'm using my bracket keys. I'm just going to go around and change anything that I don't like here. So x will give me the black again. That one's a little bit easier to see what I'm doing. And you can always click right into your mask if you want to take a look at what's happening, hey, so option click to get into the mask and then you can just click anywhere else to get out of it. Click on one of your other layers. So what do you think? This is too much on this side, if we could do is we could just select all and Command T for transform. And we could just pull this over a little bit, hit return in a like that as well. If you want to take a deep dive into the creation of Photoshop masks, check out my course on creating an abstract portrait and altering it using masks. Ok, so just a few more finishing touches here. I think I'm gonna go with a pure white, so I've got white is my foreground color here. But remember that these brushes also have blending modes right now it's set at multiply. I'm going to put it at normal. And let's take a look at what kind of an effect that gives us. Let's go first of all, write into the mask. And you see now when I'm painting with it, it's not transparent and it's actually blocking out because it's painting in pure weights. So let's get out of here again. And we can just do a little bit of that. And he continues, I'm still painting and white. I've still got that mouse selected. And I can go around and just lighten some of the stuff that I might want to do that too. And I think I'm happy with that. And now of course, you could go in and do the same thing to any of your other layers. So sometimes what I do is I close them off like this. So you can see here that this, the two sort of fern like icons that I had or motifs are not currently being textured because they aren't in a group that has the textural mask. You can decide whether you want to add that into one of these layers so that you can get texture on it. Let's put one in each experiment because you know the blending mode to be affected if the folder also has a blending mode, I've got this all set at pass-through right now. I'm pretty happy with all of this. At this point. Maybe I'll move this down just a little bit. And I think that that would be something ready for submission. So in the next lesson, I'm going to show you the steps that I take for submitting this artwork to my licensing agents. I'll see you there. 9. How to Submit Art Properly to Your Agent: Hi guys, welcome to lesson eight. Unless in eighth here I'm going to show you how I go about exploiting and finishing my project and get it ready for submission. Let's get started. Alright, so I have at this point allowed myself to be satisfied with this layout. I know I could, I could keep going, but let's just say that this is what I'm going to submit and I want to show you the steps that I take. This is probably different with every licensing agent and probably with every industry. But for the licensing of this large wall art that I do, these are the steps that I would go to. So first of all, I would check the image size and make sure that it is at the submission size that's required by my agent. And in my case, I usually submit 48 by 32 Inch files. This is not something I would normally do when I'm doing my original document, I would not necessarily always work at that half size, but in this case, for this kind of highly textural artwork, it works just fine. So before doing that process and resizing my document, I always go to Edit and purge. All. The reason I do that is because if I go to save right now, it's going to be saving all of the undue levels. So whatever I've specified in my preferences for the amount of undue levels that auto shop will save for me. If I save this document right now and resize it, it's going to save all of those. And that's just a lot more calculating Photoshop has to do. I go under edit to purge, and I purge all. Just remember that this can't be undone. So make sure that you are okay with not saving the levels of undo here. And remember that right now, it's going to purge any levels of undo that I still have here in my other documents as well. So take a second to just think about it before you hit the OK button. I'm okay with that. So I'm purging that that takes minute or so to process. Now if you look in your history, all of those levels of undue are gone. So that's going to make it a lot faster for this next step. And that's to change the image size. So I hit option and command and I, and here I'm going to change it to 42 by 4048 by 32. So like I said, with this kind of an image with all this texture going on in the background. There is no worry on my part for degradation of the image due to the enlarging. So anything that becomes more aliased or has softer edges, and it's actually going to be okay, I'll give you a close-up up it as soon as this process is complete. So this might take me a minute as well. So I will do this little bit off-camera and come right back to you. So now you see here in the image size that it has been resized to 48 by 32. And obviously, if you take a look up here, the image size has increased exponentially. Let's also take a look at the quality here. And for this particular style of art, you can see about resizing it from half size to this size. Has not done anything to degrade our overall quality. So we're perfectly fine with that. So Daniel, take another look. I think I might just move this layer down a little bit. When you look at the thumbnail, I think that's more pleasing and I think I'm going to slightly change the angle on this one. And this one. And I think I'm going to just pull this one up a little bit. So like I said, these are really small adjustments that you can see that it does take a little bit longer to do it now that it's the full size. So that's why had it half size for doing most of my construction. All right. So let's just say that I am happy with this now and I'm gonna get it ready for submission to my agent. So my licensing agent likes for me to sand advanced copies of these to him as thumbnails. This way you can provide some feedback if necessary. And this is also what he uses to submit to the companies that we are licensing to. An example for feedback might be like he just provided me with this last set that I sent. He told me that I had too many of the same color scheme. So to change up the last few, putting them into a different color schemes and play because having too many of the same was going to have my pieces actually competing with each other. So the first thing I'm gonna do is save this as a flattened file as, as you can see here, this is still got all of the layers in tact. Now, never, never, never get rid of this document. And this is a really important thing for you to have. So I always save it. I have been working on this one out of a folder called master layered files are layered files or something like that. You can stop saving. You can see even saving the document takes longer now that it's at this full size. So they do get pretty unwieldy, especially when you have tons of layers and masks like I do. I've even hit the cap a couple of times where I've been given the message. Photoshop cannot save this file because it exceeds the two gigabyte limit. So then you have to go and do things like merged things, combined things. We don't have to in this case, this is worked out, but I'm going to do a Save As here. We can see here I've got three folders. Obviously I have this course folder here, which is the class folder for the class that I'm working on right now. So this is where I put my favorites as I'm working on them. So if I'm working on this course, it goes here into my favorites temporarily. But you can see here that I've got a large layered file and that's where I would save this image. I'm not gonna go through that process now because I've got it saved in the assets for this. But I would go into my numbered and named folder to save a flattened version of this file. So in this case I would do it as a copy. I would take off this layers indicator here because I want to have a flattened version of it. And then I hit save, and this is my master file. So I'm going to let that do it's saved. And saving the flattened file definitely is a lot faster than saving be layered file. So then I open up that folder and grab that document that I've just created and I open it. I like doing this to have a last check. So you can see over here in the Layers palette that there's just the one layer by always go back and check my labeling, my meta tags and so on. And that's all good. That's what we had just said at the beginning. I hit OK. And then what I want to do is save a thumbnail version of this file. So I have created an action to do that because it's something that I do repeatedly for my agent. I submit all of these in a thumbnail, 1000 pixels wide. So I would select that and I would hit the Play button at the bottom here. And then my action will start. So included in this action, I have things like resizing it. There's a few steps that were involved. And you can see here that if I move this out of the way, actually you'll see that in the background here, it has changed my image to be the thumbnail size so that I would put into this thumbnails folder. This is the current set that I was working on. So I would hit save here. And then my original document, a layered file I still had open, and now I have the three different files that I need, the thumbnail, the flattened file, and this original layered file gives you a quick peek here into this action. Basically, the resizing of the image saves it and then it closes the file. So then I go into my folder of thumbnails and I talked to you a little bit about this at the beginning of what I do is I show a JPEG files. I show them as icons. So it usually I have stuff listed in this way, so I've got it in column form. But when I'm doing this particular part of saving and submitting, I will take a look at my thumbnails just to get an idea of whether or not it's a really cohesive kind of luck. One of the things you can do, and I didn't know this for a long time, but if you control click here in the finder, you can show options for the view. And this is really cool because you can change your image size or your icon size. And you can change your spacing. And that's very helpful and quite valuable actually at this point of the process. So you can see I have a lovely collection here in this color scheme than I did one in this color scheme. And this was a request that came through from my agent. Do some more of these, but please do some other color schemes. So that's why I am now developing a couple of other groupings here. And I'm gonna do a submission, maybe ten of this new color scheme that we came up with today. So that's really helpful once I get a bunch of these and I can take a look at them in this way. I often even take a screenshot. Let's see. I want to ask him about this color scheme. I could just do a quick command shift for select what's on the screen here. And you can see here that I've got a nice little selection that I can send him. I can do it straight from the screenshot interface. Click on here. I could message him or are male at all. These other options are here and I often save this or printed out for my own reference. If you wanted to print it out, you would go to preview. It'll open up rate in preview and then print off a sheet with all of them on there. Ok, So that can be very, very helpful to. So once I have my complete set that I want to send him, the other thing that I do is I go in and group all of those in my numbered and named set here. So I would go back to my column view than I would select the new series, control-click and compress. And what this does is it creates a zip file that I can send. And whenever I said that submission to him with all the JPEGS, I also send this through to his office so they have all of the full-size files there ready and waiting for whoever licenses from us so he's got or they've got all of the low-resolution of nail files and they've got these high-resolution final artwork files ready for publishing. So that's basically it. That's the whole process. I would of course rename this to be whatever the series was. My submission always starts with my shortened firstname Dell. And I would say 942 to 954 or whatever was included in that zip and then I would send that through. And I actually file all of these as well into the master file that I have for zip files. And then I've got all of the zip files here. If ever, it's necessary that I send something else through. So that kind of is in a nutshell, my entire process from start to finish. So I hope that has been helpful for you. If you have any questions at all about the process, please post it in the discussion section. Alright, I'll meet you in the wrap-up. See you in a minute. 10. Outro and Conclusion: Hey guys, we made it. I really hope that you've got some work there that you're proud of. I know I'm going to probably order some of his artwork. I can't resist. My new house and my mom and dad's house will look great with some of his artwork. I know all of you are out there have a bunch of amazing work that could work for licensing. I hope this class has given you some ideas on how to put together an actual collection. It's really important for you to focus on really learning and developing your own signature style. There are a lot of successful artists out there who are producing specifically for commercial purposes. Take a look at their work and try to just figure out where you fit in. Finding your style is gonna be what sets you apart from all of these other artists who are doing this same kind of work, you may be making your money right now with graphic design, you may be making it with surface pattern design. This is just one other thing that you can explore and perhaps add to your annual income. I know that I couldn't live without it. I love the fact that I can create beautiful art work without a customer or a client or an agent standing over me telling me what I should produce. I just produce what I want to produce. An I submitted. And if I'm lucky that work cells, it's actually super satisfying work. I highly recommend that you try it. Thank you so much for being here with me today. I'd love to hear from you and see some of the artwork that you've created. Even before you get an agent. This is the kind of work that will be really suitable for sites like Society six and red bubble and any other POD sites. Definitely get your work out there. The more you get out there, the more you'll start to get recognized and the more recognised you are, the more your work will sell. I can't wait to see what your produce sees. Post some stuff here in the discussion section And give me a little bit of a story. I'd love to hear it. Also, feel free to check how my stories. I have a retail site, Dolores art dot ca. I have a bunch of different stores. The biggest one is But I also sell here in Canada at art of where and also read bubble and Society six. I'd love to see a drop in for a visit. If you'd like to know more about my Processes, please let me know. I'd love to share and don't forget to hit that follow button. That way you will learn about my classes as I released them. Also, if you go to my website, please join my mailing list. I'm planning big change to that site where I offer a lot of other stuff that you won't see here. Also, don't forget to check out my two Pinterest sites. One is called the Lorentz art dealers now sprint and the other one is called teacher Dolores Nas grit. Those are full of tons and tons of artists resources and examples. My biggest board is art inspirations. And believe me, you go through that a couple times and you will be inspired. All right, take care. Bye for now. Okay. Right.