Painting Cactus in Pots using Procreate | Jennifer Nichols | Skillshare

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Painting Cactus in Pots using Procreate

teacher avatar Jennifer Nichols, Leila & Po Studio

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

14 Lessons (1h 48m)
    • 1. Introduction

    • 2. Downloading Resources on Skillshare

    • 3. Brushes

    • 4. Watercolor Cactus Pot

    • 5. Watercolor Cactus

    • 6. Finish Watercolor Illustration

    • 7. One more quick watercolor tip!

    • 8. Texture: Pot

    • 9. Texture: Cactus

    • 10. Texture: Spines

    • 11. Texture: Finish!

    • 12. One More Texture Pot Tip!

    • 13. Texture: Backgrounds

    • 14. Class Project

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About This Class

In this class you will learn my favorite watercolor method to use in procreate as well as a high texture illustration. Both styles are very fun and I can’t wait to see which one you prefer! I provide canvases, a palette, a ton of free brushes, and loads of reference photos. Enjoy! 






Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me and learn a ton along the way.

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

Here are a few illustrations I’ve made in Procreate. I lo... See full profile

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1. Introduction: Hi, my name is Jennifer Nichols. I am a teacher and an artist. And today I'm here to show you how to make cacti in two ways, using procreate on the iPad. So one will be watercolor and one will be high texture. I provide a ton of free brushes. I also collected a whole bunch of freeze photos to uses inspiration for you to branch out on your own illustration after class. Both of these methods are really fun to do and I can't wait to see your illustrations at the end. Please post them in the projects and we can all see them. Head on over to my skill share profile. And you can see links to my Facebook group, Instagram and all that kinda stuff. I'd love to see you in the Facebook group. I check it pretty regularly, so it's a nice place to ask questions and get some answers fairly quickly. Let's get started. 2. Downloading Resources on Skillshare: To download resources, you need to be a landscape mode on your iPad, not in the app, but in a browser. So once you're in the class that you need the downloads for, just go down to the tabs here to projects and resources, and you should see them on the right hand side. Depending on your browser, this will be slightly different. So I'm gonna walk you through all of these. I have appropriate file. I have a palate which is the dot swatches. I have a fresh set and I have an image. The other thing actually that I don't have here is an individual brush. If you download an individual brush, it will go into your imported category of brushes, in your category, in your list of brushes. So for Safari, you can tap and hold is one way to do it or you can just tap. And there's a few ways this actually says Download really small. Let's tap at one time. So it opened in a new tab and it is tapped download. And right up here is this little arrow and it bounced down, which means it was downloading and then it completed. So I'm going to leave that there while I get the rest of my things. Hedgehogs, swatches. So watch this little arrow. Little did a little bounce. Sometimes there'll be a little progress bar for a larger download, like that. Ego. And this will just open up into a new tab and show you the image and that if you want to save it to your camera, you can tap and hold and tap Add to photos. So now let's go to this download button. And there you have, you download so you can tap on those. So it looks like it was a zip file. So that is right here. I'm gonna go back. Oh, I think it got all of them. Maybe I don't have to do these one at a time. So that was appropriate file. And so it opened right into procreate and it opened into my very first spot on the gallery. But the rest of my stuff is in the files tab. If you can't find it, you need to just go. Because from Safari it just kinda bounced us over to files. So if you're not familiar with files, and then you go to downloads, and then you find the name of what you have. It's going to be an alphabetical order. So if you tap on this, thankfully, with the update them several months ago to iOS 13. Ipads can deal with zip files now. So if you tap on the swatches, imports right into procreate, if you go into a got a one of your files, you can see in your list of pallets, it will be right down at the bottom. And then I believe you can move it around back into files and this is the brush set. And it's at the top. And then at my imported brushes that are way down at the bottom because I don't use them that often. So if you have a separate brush that you have a download of that's individual and it's not in a set, it'll be in your imported brush section. And then you can drag it out and drop it into any category you went. I would suggest keeping them fairly organized. 3. Brushes: All right, I have some reference photos for you to just see a little quick glimpse of what the brushes are that I included in the brush sets. But I added my soft CRAN, which I have in many classes. It's very versatile and we'll be using that today. And then my wide pencil stroke. So it's just a nice texture. And so as that, and so those aren't on this list. And there's a quick guide for all of these texture brushes. And these will come in really handy on like the terracotta pots and things like that. And a stamp precious. These I will be showing you. I made all have fees for this one in particular pot, but I'm really excited to see how you end up using these as well. And these are also really fun to decorate putts width. You will have to texture canvases to work with. I just made two sizes in two different color profiles. And if you have an iPad that isn't an iPad Pro, you might want to start with the ten by ten in those canvases yields C, Draw a layer. You can just add more of any layer. There's nothing special about that layer. It's just showing that you draw under the texture layers. And these canvases are really great for watercolor brushes. And if you took the succulents class, there's this Carmel variation, which is just really streaky and just looks much nicer with the textured canvas. Let me show you how it looks without it. So it's still Mason streaky without it, but its nascent in them. I don't know, just gives it a little more something when you have that texture Canvas. So those are fun to use and go ahead and if you wanna go grab my succulents brushes, it's really just this 6B that in our current class. The Carmel variation that isn't in our current class. And then the, these 123 and the water detailing, watercolor detailing brushes are the same. Then the pencil stroke in soft CRAN, are the same. However, you'll notice with our watercolor, I added a fourth brush and a watercolor bloom brush. So we will be playing around with those a little bit. And the rest, Oh, you know what? I don't think INCOSE in the succulents class. So I would recommend just kind of grabbing brushes from both classes and maybe combining. And so you don't have such a long list of categories. So you could rename any of these, right? You can just tap on that and rename and call it cactus succulents or whatever the, the names too long. So you just come up with your own abbreviation and maybe combine those two sets and that would be a good plan. Alright, so we're gonna get started in the next lesson with a watercolor pot and cactus. 4. Watercolor Cactus Pot: I like to pull out my photos over to the side. What I was doing when I was getting ready for this class was I was looking at pots and I was looking at different cacti in different pots and I was kind of coming up with my own. So this stamp brushes, I just came up with three different pots for stamping. Alright, so my stamp is way up here. I just started with about five layers and may stamp is up here. I'm going to turn the opacity down. On the watercolor paper. Things are going to show up much deeper until we start using the watercolor brushes. I'm gonna go to cactus when and go to my ink brush. The reason I included my ink brush, especially if you go up to about 30% or higher, is when you draw with the ink brush, it has a nice rough edge to it. And I like that a little bit more than the model I brush. And of course, there's great reasons to use the monoline brush at times as well. So I'm gonna go ahead and go down a layer. I'm going to turn the opacity down even more so I can barely see that on the next layer down. And I am going to fill in my pot. This is a super dark color and right now color does not matter, and perfection does not matter. So there are a lot of videos out there with mugs and bowls like hot cocoa mugs that show really fun ways to get the ring on top to be a separate, it's like a separate layer. And so it ends up, it ends up, oops, got a little white spot down there. It ends up being something that you can highlight differently than the rest. And then you can, you can color the back area back here on a separate layer and all sorts of really awesome procreate abilities with having things on different layers. I'm not doing that. I found that to be something where I can I can really see where the edges of everything are. And I like the look of just keeping this all on one layer. So I have my pot all on one layer. And I'm going to turn the opacity down because I really veered off track here. You can see that and that's fine. But what that's gonna do is change the angle of the opening from our viewpoint. If I have that be way up there like that back here. So I'm Nick cut that down. I made the three stamps to have a similar angle. So that way, if you decide to make a cluster of pots together, olive, these openings right here are going to be as similar angle, which is how it would look if you were standing and looking at. A row of pots. So you wouldn't want one with an angle like this and then one with an angle like this, right? So, so they all have a similar angle in case you want to do a little cluster. And if you're gonna veer off from the stamps themselves and just do your own shape. Then you're going to want to look at that angle. See how this one's more angled so you can kind of look down onto it a little bit. So just kind of keep a consistency if you're doing multiple pots. Alright, I need to turn that opacity way back up. I can go ahead and turn my outline off and might even be able to delete it. And seeing a little piece here I need to get rid of. This is just a base layer. I can come back and change the shape of this layer at anytime. Now, I need this to be almost white so I can either swipe it like this and change the color this way. Hopefully you can see that still. So you can see it's barely green right here. Or you can go to hue saturation, brightness and change it here. I'm also going to change the color to blue and D saturated. All right, some super light color. And that is going to be our base watercolor layer. And what the purpose for this is, is I can now add, kind of sloppily add watercolor to clip in masks on top of this layer, smudge that watercolor around as much as I want. And it is going to stay in this shape. So that's why I like this method. Now if I want to have this pot, I'm glad I didn't delete that. Actually. I need to know where the rim is when I'm adding my watercolor. So I'm just going to look at a picture really quick. I'm kinda liken this blue and the unevenness of it. You have to think about where light is coming from. So for example, this one thereby a windows. So everything's light on this side and it's casting a shadow down there. So you'll think about which side of your pot is going to be shadowed. And brighter. This is the shape of our pot we're doing. It's also similar to that shape if you want to make it straight up and down on the sides. And easy way to do that is to take this shape and go into liquefy and need to unlock it. It's alpha locked. Liquefy. Go to push and then pull on these outer corners. And just kind of changed the shape that way. So that's a fun, easy way to just change the base. You could also just draw more with that ink brush. And once you have that exactly how you want it, you can change it a little bit later so it doesn't need to be exactly, exactly. Then we're gonna go ahead and get painting on that. So let's add a layer above it and turn it into a clipping mask. I am turning my outline pot. If you don't have the stamp and you just sketched an outline, is good idea to just keep that visible, just to see that rim among the clipping mask. And I have some colors here for you. I'm gonna go ahead and choose the teal. It might be a little too dark. And I'm going to go with watercolor one on a pretty big size. I'm going to test it out. So watercolour when goes watery pretty quickly, wider color to doesn't go watery very quickly at all. So you can see, you can, gets a tiny bit later. Watercolor three is similar to watercolour when, but it starts out thin and is a lot of, has a lot of pressure sensitivity. If you watched my Instagram Live on drawing succulents with these brushes, then I, you'll see I use that watercolor three alot, and four is very textured on the edges and we're gonna use that much later. Although you can use it, you don't have to follow my my plan exactly. Alright, as I'm going back to the first one, go into one. Let's start with one. And I'm going to, I'm going to just kind of I'm just I'm thinking about where the edge of the pot is up there. And I'm thinking about where I want the shadows to be and having a little bit of unevenness. You could even add some darker shades or some slightly different colors. Maybe go a little green. If you do that, you might want to go to a new layer in case you don't like that. So where I want the color to be heavier is where I'm starting out because it's a nice heavy brush at the beginning, heavy tone color. And I'm trying to keep that edge a little bit separate. Hear some really liking a, I like to have like three colors. And they go ahead and move that over. I'm, I'm really liking adding the greens, but I wanted to go over to yellow. And I'm gonna stay on this green layer, just receive it. The yellow. Yeah, I'm not sure about the yellow. So I went back to the green Amazon and I'm gonna go a little darker. So if you can see these, these brushes have a nice little edge where it gives that wet on dry watercolor look. And you saw how simple that was right there. So that's the front. And if you don't want to erase that nice deep edge, go ahead. I'm gonna go ahead and merge that renin blue because I'm happy with those. And this is a very heavy layer project. So a layer heavy Project, I should say. So you can go to liquefy and it just kind of push, push that down a little bit. So you can keep that nice edge and not have to erase it. So I'm exposing the edge of my pot here. And I'm going to keep going with that same brush. And I'm still on the same layer. I'm gonna go to a lighter color. And I'm just getting some color around my edge and just keeping it a little separate. Go back to my teal. I know that in here it's going to be more shadowed. So I'm gonna have a little bit darker areas around the m's here. Let's turn off that sketch and see if we like that. Alright, and I'm gonna get a little bit more dark around this front edge of the pot. Just kinda define that a little bit more to smaller the size here. Right? Now I've got that dot and I have to start over her head a raise that dot then had to go back and do to get that dot to go away. So I'm just going to add some more here. So trick number one. If I want some white to show through, I'm going to go to this base layer. I'm gonna go to the eraser. And let's just go down to inking and to studio pen. And anything you erase on this base layer is going to expose the background. Because since all of the watercolor layers are all clipping masks. So you can get some little white areas. You know how when you're painting, you sometimes leave white. So you can just add the white by erasing. All right, and there is our pot. And next step we will get working on the cactus. 5. Watercolor Cactus: Alright, so the same process for the Cactus, I mean, a pull my photos backup. And let's go ahead and do I think these are called prickly pears? I thought it would be fun to start with one that has more than just when ball. So let's do prickly pear. You're going to notice the palette has some, these are for kind of popped colors. The terracotta and the blue we're using and a super light colored for shading of some whitish pots. And then going this direction from light to dark, light, dark, light to dark. Our sets of cacti colors. So we have these more yellow greens. And then there are some that are very blue. So this one's got a lot of bluish green in it. This middle one here. This one right here also. So I just included those, of course, you can do whatever you like with your palettes. And I included a little purply over here too. There's some that are purple. Alright? If you want to group your pot together and just get it out of the way there, that would be good. And move it down, maybe just down, leave one blank down here. We need to add a shadow under that pot. And we're gonna go to a layer above the pot. Again, you can start with any color. I'm gonna go ahead and go to green and then bring it way light. Go to my ink. And let's look at this prickly pear. Alright, we can be a little bit sloppy about this thing. I'm going to move the part down. Now, this method needs to have separate layers for some of these sections. So and I may not do every single one of these. I may just use this as a little bit of inspiration to kind of see how it looks. But then make my own thing over here. So I have kind of a oval here and then I don't want the next thing to be touching it because then I can kind of blob my watercolors on it without bobbing into the next little piece. So let's start with a big piece. Don't worry about how this bottom looks. We're going to be fixing that up later. And then on another layer, I'm going to add this other piece. So if you want to change your color just a little bit so you can kind of distinguish between the two layers. And I think I'm going to add one over here. That's that same layers since these two are not touching. So if I want to add another piece that's kind of tucked behind this one. This line is kind of implying that it's connected to this one, but you can't see where it's connected. So I could go back down to the layer that this is on. And I could go ahead and add another little piece back there. Or maybe a piece over here. As long as the ones on that same layer are not touching. I think I'll add a piece here as well. Like the shape of that. Alright, so I think I'm happy with that. I need to change the base colors a little bit. So I'm gonna go ahead to hue saturation and brightness and brighten them up and desaturate them, just make them super pale. And you can come back and change that later if you end up wanting them brighter again. Clipping mask. Clipping mask. So I have a clipping mask on top of each one. And just taking a peek over here at shading. So these are kind of flat. We don't want to make them look super round. So they really don't have a lot that's going to make them shading, shaded on both sides and light in the middle. That will make them look around. Instead, it's almost like when solid color and then a little bit of difference around the edges. So we're going to start with this darker when it is darker. And we're gonna go to watercolour one. And to start play and make sure I'm on the clipping mask. And then start plan with color. Trying to make sure that I give it that watercolor look. Whoops. And start working my way to the other colors. So I'm not going for realism here. I do want it to be darker down here because it is kind of in the pot. And we're going to add some shading later. So if you can see I have a lot, a little edgy lines. And since I am on this layer, I'm gonna go ahead and do the same thing up here. Alright, so I'm gonna go up to the clipping mask. If my other two little lobes here, my base color is a little bit different on these. So it's probably going to show up a little different a little bit. And if you end up feeling like you've gone a little overboard with color, you can go to the water. Brushes that come with procreate. And I like to go to the sponge or the wash. And just I'm in my eraser and I can erase little bits. If you look really closely, if you tap really hard, you can see it has this watercolor blotch shape that is a wet on wetlands, which is something that we're not doing here. So I'm not going to do too much of that to change the shade of green. If you look over here, it's a little bit more grass green. You can go to a layer and go to hue, saturation, brightness and saturate it a little bit. So you're looking at these two lobes here. And I mean those up. And I'm going to do the same thing for the other layer. It's already a little bit brain. And I, I saturated it more, but I also dark with the brightness setting. So I just, I don't want them all to be the same. And finally, I'm going to add another clipping mask to each of these. And I'm going to set those to overlay. And we'll do this down on the pot as well. So tap this end. Go down to overlay. From overlay, you can choose black. And this is when we're going to use watercolor for and for me, I'm just wanting to get some texture on here. So the overlay with black is going to darken whatever color you have here. So let me give you an example. And this brush has this really cool, jittery edge on it. It does start out dark and fade. So you can kind of bring it up, start out where you want the dark color and then bring it up. This is also where you might want to do your blooms. I really love the texture that this brush brings. Let's try not to get carried away. If you want to go with the Bloom's, This is also a good time for that with the black and an overlay layer. I would. So they'll go in one direction. So if you want the bloom, whoops, I'm on the wrong layer. Here we go. You want the bloom in a certain direction. You go either that way or you go that way. So it's it's facing me when I go that way. And it's facing that way when I go away from me. So you might wanna go maybe along here, maybe along the rough edge of that brush. We just did make it a little bit more gloomy. I'm not doing blooms, but I did want to add that. I think this little textured brush can have gates that bloomed. Look. And let's go back down to the pot really quick and do a overlay layer for that too with brush number four. And we're almost done. So we need to add some dirt, clean up the bottom of this cactus in add a shadow will do that next. 6. Finish Watercolor Illustration: So if you look at this part right here, you can see the dirt in the pot doesn't come up all the way to the edge. You can see a little bit of the inner sidewall of that back side of the pot and then the dirt around the base of the cactus. So if we look at the base of our cactus and find that layer, that was our base layer for this piece, we can come to that. If we don't want to mess up this layer and erase, what you can do is tap this and add a mask. So you have two options. You can go to erase and I'm gonna go to ink because that will give us that textured edge just like we used when we drew this shape. So I can come up here and erase to expose the edge of the pot and need this whole edge of the pot to show. The front edge of the pot shows if you want some dirt to show in front of the cactus as well, you're going to erase even more. Now if you don't want to erase, because there's a lot of reasons why you might not want to erase. When is maybe you want to move this cactus around a little bit later. Maybe you want to grab this whole cactus and use it in a different pot, and maybe you'll have that part be different in the other pot. So if you have enough layers, you can tap that and tap mask. Now we're on this mask layer. It's a brighter blue so we can tell we're on it. We need to go to any brash, but I'm going to ink because I want that textured edge and you need to be on black. So let's double-tap in black. And it's going to look like you're erasing, just like I did before. I'm going to have a bumpy edge here because I'm going to show a little dirt around the base here. And that'll give it a little more natural look. But all it's done is mask that layer. So you can see if I take turn that mask off, it exposes that again. So that's one way to preserve your original work without erasing. I like doing the dirt right in the pot itself. So I'm gonna go to a new layer and i'm just another Clippy masker, anything? And let's go to this dark brown over here. I am going to go to the watercolor too, because it doesn't fade in color like the others. And I'm just kinda, well, you know, at first I want to look and see is that how big I want that pot to be? I think I'm going to make it smaller. So I'm gonna grab the whole group. And I'm gonna do free form and I'm going to bring the sides in. So now I'm on my fresh new layer. And let's just test out that Brown. It's brown on this blue. So it is kind of a weird color. So you can play around, I like it super dark because if you look at most of the plants, it's going to be really dark in there. Now I am under the cactus layers. So it's not coming up in over the bottom edge of the cactus, which is why I made the bottom edge of the cactus Bambi. Alright, and now I'm gonna go to liquefy and just push it around a little bit. I don't want to erase those edges. But I need to expose my lip of the pot here. And might need to do a little erasing. And after all, it's kinda smear around. I don't know if you can see em. I really have a lot of pieces here. I'm gonna go ahead and expose the edge of my pot here. I am erasing with the ink brush. Right? And we'll back up and look at that right now like the look of that dirt in the pot. And now we're gonna go on a layer, but everything not on a clipping mask. Go to cactus three. I guess I should have called these spines, but I caught them spikes. We're gonna go to white. We're not going to be able to see that very well. And let's practice. Run that thick cactus. And I'm on 5%. So it's a little bit off white. Simon, this orange and the name almost white. Let it go closer to white here. Looks pretty white over here. Now some of these look like a pattern. If you look at this one, it looks like a swirl pattern. Swirling this waves rarely met way. This one looks more random although I see a swirl right here. This one kinda sore app. So I bet they're supposed to have a bit of a pattern book. And that is just all up to you. I think I might need to go smaller with those two. So let's try it with present three. Yeah. Now if they don't look obvious, NF2, there's a trick at the end that'll show you. I'm going to fast forward this part. I'm just going to pay attention a little bit to my reference photo and the direction of the swirls, that kind of swirly than like an S shape almost. If you're not happy with the color of your spikes, you can change it later. So just for now, just get your little spines on animals sea on the other side of this zoomed fast-forward section. So you may have seen I was adjusting the size a little bit here and there. And it's hard to tell in the video why I didn't put this on a Clippy mask. I actually want this spine, spines, spikes to extend past the edge of the cactus. So to make them a little bit more bold, you can duplicate the layer. You can combine those. You can double, tap, double two-finger swipe to the right to alpha, lock it and get a true white and maybe go too soft crayon or some sort of gentle brash and add some true white to some areas. And you, I don't think you can see this in the video that it's really kind of brightening up some of these because they were a bit of a creamy color. And one more thing I want to show you so that we don't have these clean edges even though we have a textured edge due to the ink brush. If you go to the base layer that we started out on and go to liquefy. Go to a pretty small size. I have momentum turned all the way down so it doesn't really push it out of my control. I can go around and change the shape. Now, you could just literally just wave it around like this up and down. That might be a little too much. Can do that. Maybe a paper size in a little less wave. Yeah, that's better. And to the base layer for the other pieces, same thing, liquefy. And finally we're gonna go all the way down to our very bottom layer that we preserved. I am just going to go to this dark teal right here and bring it down to pretty close to black. You can play around with what color you want to do. This part also will want to play around with. When you look at most of these pots, slits gives me a good example here. Look how dark it is right at the base. So adding shadows under things can be tricky. This one doesn't have a lot of shadows because it has a lot of light from all sides. So you see that dark at the base here. Just go around and get an idea. Here's a good one. This is a good one right here. So you can see it's really dark on the pot itself here. And it's really dark right under it and then it fades out. If you do the shadow in a way where maybe it's too light, it ends up looking like it's floating. So let's practice this a little bit. Alright, so I, grabbing the watercolor brush gets the most color right at the start. So that's why I started over here. If I started over here, I get too much color over there. Alright, and you can always select it and move it around a little too. And we might need to darken the pot itself. So it did have an overlay layer already. Let's go ahead and try to add a little more. I think it's just adding some more of that dark. It's making the green darker. So that's good. I like that. Alright, there is the basic technique I use for watercolor and procreate. And the great part about having the base color for each thing. So that base color of the pot, that base color of each of the two cactus layers is that you can overlap water color, things that way. And they, they don't they don't show the top one doesn't show that underneath when through it. So I can't see I can't see this pot through there. If I had if I had done this without having that base layer on each of these things, I would be able to see right through this watercolor and I wouldn't have to come any race this pot right behind this cactus. Now we didn't do a base layer for that shadow. So if you end up and having to overlap any shadows, you're gonna have a problem with that. So let me show you an example. So do you see I'm gonna zoom in here. You can see the shadow, how it, when I overlap this pot, I can see the pot and the cactus. I can see through the shadow because we didn't do that base layer on the shadow. So if I wanted to move these closer together, you would just need to pay attention to that shadow. That would be a little too close anyways, maybe if I move day here and that shadow is on top of this pot, you need to be careful. Alright, so in the next video, I'm gonna show you how to do a high texture, not watercolor design like this. And this will have fun with all our pots or all of our brushes. 7. One more quick watercolor tip!: There is a quick little thing I wanted to show you, I learned in another skill share class. And that is a turn the spines off so you can see it better. And coming to a color. Really going to want to base two colors right here, lobes, I guess. And we're gonna select, make sure we're on the right layer. We're going to select an area. Maybe it's an area that you want to have a different color or a highlight. And you can tap feather and Southern at the edge of that selection. And then you can make changes to that selection. So you can go to hue saturation brightness, you can go to Gaussian Blur. And you can make changes just to that little selection. So for example, I went to lighten it up and make it a little bit more. Maybe not change the colors so much. Then you can see it just, I just light into it a tiny bit. So that's one thing. And then the other thing I like to do is alpha luck. So two-finger swipe to the right, go to air brush. In the airbrushed section, go to soft brush, and then choose a color from there. So maybe you want a little bit more blue-green in a selection. That's pretty big. Because e of alpha locked the layer. It keeps the texture. You're not going to mess with the texture at all. Okay? So you can go through and make some color changes pretty easily this way. Have fun. 8. Texture: Pot: In this illustration, I am going to show you how to use my fun brushes like this that designs the mud cracks and the wood grain. This one back here is the grungy streaks brush. And then I'll also show you the cactus. But I want to encourage you guys to look at the reference photos and just kind of gather some inspiration from various photos and maybe do a cactus for one photo and at pot from another photo or just the pot shape. I have, of course three stamps down here and you can use, or you can go with your own pot shape. And this is super fun and quick. So let's go ahead and get started. I'm going to start with my brushes that I use to make the pots. All of the ideas are similar to the watercolor lessons. So doing the pot all on one layer for the base coat, the base layer. And then I'm adding Clippy masks to the top. And then I'm adding the cactus above that. And then just kind of fitting it in down here either by erasing or moving it up or using a mask. All right, we're gonna start with a new canvas. I'm just gonna go with ten by ten. We just need a regular Canvas. We don't need that watercolor special textured canvas this time. And kinda look through. Any old pot will do. Any cactus will do. And I'll show you the technique I use four, getting the pot ready. And I go ahead and use inking brush. You can use monoline. Anything you went, I'm going to go ahead upside, need to find the correct palette here. And I go ahead and use this terracotta color. I'm just going to bump it a little bit down so it's not as saturated. And let's go ahead to cactus three and grab that stamp brush right there. Make it as big as you want. This is going away so you won't need to worry about upscaling right now. I'm gonna shorten my pi by selecting the bottom of it and moving the bottom of it. Then I'm just going to move it over. So it's lined up over here and just kinda make sure those two sides are lined up approximately. This is just a guide. And now we have our pot exactly how we want. It will go to a new layer under that pot and just going to add a venture layers down here. Go back up to cactus 1e to the Incan brush. Maybe a little bit more orange than that. And I'm gonna fill in the whole thing, right? Just like we did for the watercolor lesson. I'm going to keep my sketch. If I can't see it very well, I might wanna darken it. And that way you can see the opening and where the lip is. So here's how I use my design brushes for these textures and also these designs. For these four, they're all going to work the same way and they go to a pretty light color and figure out what size I need. They also need to go to a new layer. Alright, so I'm going to just cut a color, a big area. Let me turn the background color down a little bit so you can see what I'm doing here. And then I'm going to erase with my big monoline brush indistinct race. This bottom section. And this top section. Probably don't need so much on the sides. And now I can select, go to work. And you probably can't see this. There's a grid on here. If you want more of a grid, you can go to this advanced mesh. Sometimes my pencil doesn't work to grab these lines. And I have to use my finger. And I'm kind of looking at the edge of the pot and I'm thinking, I think these might come in. This might come out. If you think about how it wraps around trying to get down a little bit lined up. And then let's turn it into a clipping mask and see how it looks right on the spot. So you can see it kind of comes up over the lip here. And it kind of works curves right here. So I'm going to select it again and mess with those. So this is a bit fussy and you just play around with that until you're happy. That looks good enough to me. Now I'm going to select a texture from cactus to, let's go ahead and get rid of this. And I went to erase among the eraser and I'm erasing with some textures so you can play around with the different textures and how the look that give you how you want your stuff. I don't like that one so much. Attend to go towards this calcification when muda is big. And all this is doing is removing Sam. It's, you can do the same thing by just adding another texture layer on top. But I like to remove, let me remove this outline. I like to erase some of the designs that we are doing here. It just gives it a little bit more of a rustic look. And we're still going to add a lot of texture on top. So then you can decide if you want to texture layers to go under that layer or on top of that layer. And that's what we're doing next. So I'm going to turn this layer into clipping mask and go back to cactus too. And I'm actually going to stay right on calcification. Kind of greyish white here. If you've seen terracotta pots that have a lot of calcification. I don't know if it's calcification. I couple it back. So I named the brush the habit that here's a good example right here. And I have included a lot of texture brushes c, you can get lots of different looks with your pots. That part I'm looking forward to you guys doing your own thing and coming up with it. Venture crazy pots with all these different textures. Alright, so we're not done with that yet. I need my sketch back just so I can see where my ramus and a probably add a little bit more. Let's go to rest paint. And maybe it darker. Orange hair. I'm thinking about where I want my light to be coming from. So let's go ahead and have this shadow coming here. So this will be the darker side and this will be the lighter side. If the light is coming from over here. If that is something that you don't like, the look of it covering your design. You can try to see what it would look like dragged underneath. I think I like it like this. So I'll go ahead and leave it that way. And let's go to another Colibri mask. We're gonna turn this layer to overlay and we're gonna go to black. And this will just give us a nice dark luck. It's going to take this one and get our wide pencil stroke. So if you look at a pot that has the lip on it, you're gonna see a shadow right underneath it. So that's what I'm going for right now. So that's a little bit to vibrant for me. So instead of overlay, I'm going to go to gray and go to a different blend mode. Let's go to Color Burn. That is still very bright. Let's play around with blend modes there. Now, there we go. So Linear Burn is a nice color and then E can lighten me opacity just like that. So this one, you can see it is kind of thin and it kinda goes under the lip here. And then it gets a little bit more shadowy over here. So I'm just going to add a little lightly, bring that darkness down. You can do this with multiple brushes. So you can do with that soft CRAN or any of those texture brushes in the second set. And I'm also going to darken up in here. So if the light is coming over here, it's going to be on this inside wall is going to be darker. And then it's just going to be a little bit darker in here. It's not going to be quite as dark because the light will be angling into there. Okay. So that back wall is probably going to be hidden by cactus. So I'm not going to worry about that too much right now. We can come back to it. And I'll probably dark in this a little bit more later. I'll write, maybe go to soft crayon or go to cactus to these three brushes up here are quite subtle. So you can, one of these textures, Ooh, that's a water splatter. You texture. Some, maybe not that texture, but you can get some shading then with that. Some more subtle shading then that white pencil did. And our sketch layer is kind of in the way here again. Okay? So hopefully you can see all that lovely texture we've got on this plot. So you can do that for any shape of pot, AD color, any shape. This is all one layer with Clippy masks on top. So I wanna get some highlights on this upper lip of the pot here. Go to a light, pretty light gray. And I'm going to go back to, let's just go to pencil stroke, wide pencil stroke here. We're not going for realism, so we just need a bit of an indication of this upper lip here. We're gonna change the blend mode. So right now it looks very bright. And the light's going to reflect right on the inner lip there. Now let's play with blend modes. These upper ones from the normal are all very dark. Screen works. Later color works. Overlays a little yellow bu, soft delay. It's a, it's a little bit too faded. Hard light works. So there's several network and you can just set, pick the one you like, or you can just find the color that you like. So I'm gonna pick hard light, and I'm going to just turn the opacity down a little bit. All right, so we have our very uneven, imprecise, rustic looking pot. And next step we'll do the cactus. 9. Texture: Cactus: Let's go ahead and group all of the layers including that outline and shrink that down into group. So I did this Terracotta pot and now I'm looking to see which cactus I wanted to do. We did this one for watercolors. I'm not going to do that when I think I'm going to go ahead and do this on right here. It's nice and bright. And I'm just going to zoom in like that. Let's go ahead and well, I'm going to keep the pot there because I want to kind of get an idea of how big I need to make this cactus. A few layers get and they start color. And any sketching brush you want to use. And just go in with my ink here. Alright, so I think if we do somewhat of a big cactus like this, this one can have tapers in. So my first try had more of a bulb. This one kind of bulges out and then tapers in just a little bit. So this part is super in precise. And we're gonna get the little wavy corners. Later. We'll show you a quick trick for that. Tap and hold the eraser. I'm just going to clean up these lines that I don't need because I do need more lines in this space and I don't wanna get confused. Alright, so the lines I am drawing, this row of spikes right here, it's almost in the middle, is kind of off to the side. And this row of spikes here is off to the side like that. And then I'm going to draw the line where it goes in, right in here. And this line that goes in its kinda the Valley. Right? Just so I don't get my lines confused, I'm going to put the little marks on the ones that have the spines. You can be precise and makes sure that those marks are right where you want your spines so that later you can just go ahead and throw some spines on those dots. Or you can just use it as a guide, an easy guide, and ignore it later. Alright, so that is our quick sketch. And now we can turn this pot off and focus on the cactus. I'm going to turn the opacity down in your palate. I have added this set of six. I know it's really hard to see because of the dark background. But these are four, this right here. If you want to pick a different cactus, when you're in the thumbnail images like this, you can drag and drop right in. And then you can. Do your color, select and add to your palate. And just keep adding all the colors you want. And keep tapping over here to get them into your palate. And then of course, the other way to add a photo is the wrench tool. Whoops, I just tapped Gallery. The wrench Tool and go to Add and insert photo and select your photo from there. If you don't have all of the photos I provided in a nice little Alba like this. You'll need to figure out the best way that works for you for accessing the reference photos. So I'm going to start with kind of a medium color. Let's go with this one right here. And I'm on my ink, I'm still on my outline layers, so I'm gonna go down. So I have one spare layer below. Just in case I need that. If I completely enclose as shape, I can drag and dropped it to fill. In this ink brush has a nice texture along the edge. If you zoom in and look closely, but the drag and drop still fills pretty well. Alright, I'm gonna turn my outline layer way down and go to layer above that and turn it into a clipping mask. And I'm going to start with my darker colors. So here's a pretty dark blue right here. And let's just go to this wide pencil on a pretty big size. And let's look at where they're really darks areas are. So let's let's just blobs some color on there. If you press too hard, the texture just goes away completely. There is a really dark area on this inside this section. And it's pretty dark over here. Some dark areas down here. We're going to be blending so we can be a little messy with this. And the next color app, set a color note by just added that same color there. Let me delete that. So let's go to this teal. That's some teal in here. We've got some pretty grassy green way up here. And right now I'm just kind of all on the same layer. You can use multiple layers, but then it's a little harder to blend. So I'm keeping my darks and my middle tones all on this one layer. And then I'm gonna smudge with that same brush actually on the largest size. And you seem way in. So we're not going for realism. We're going for just a nice fun textured cactus here. And we'll be adding some more darks later with an overlay layer. Go to another layer, turn it into a clipping mask. And let's look at some of the lights. The super light blue here. I'm going to use the soft CRAN. And if you look at where the lights are, both of these sides are pretty light and there's some late here. Some light in here. Mostly in the middle and appear. And some light over here, right here. Just looking back and forth a lot. And let's match that a tiny bit. I don't like smudging this very matte. Thats, the SF CRAN brush gives things sort of a map look. And so if you smudge it, it kind of takes that away. And I'm gonna go back down to this darker layer and smash this little bit more. And barely pressing here. All right, let's go to another layer above those two clipping masks. Turn that into a clipping mask. And let's turn the blend mode to overlay and go to black. And let's go to the white pencil stroke. And it came down in size quite a bit because I want to get the deep lines in here. I can see that line going, whoops, I just goofed here. I can see that line going pretty far down. It fades away as it goes down. It's pretty bold appear. And then I'm gonna get a nice bold line in here. And the other thing I want to do is just sort of shade some more. So I have a dark area up here. I have some more dark going on here. So I'm just going to give some more dark with this layer, this overlay on black. And then of course way over here. When I blend this layer, I want to be very careful not to blend my nice bold line that I wanted along this edge here. So I'm gonna keep that bold line there. And looking back and forth, way out. And I think he went to add some more darker blues here and here, here and here, and keep this area light. So let's go to this blue here, and then let's D saturate that a little bit by pulling it towards the middle and then down towards black a tiny bit. We need to go back down to a different layer. You can add a new layer if you like. I'm on top of this light layer though I think I'm gonna go under that super light layer. And among white pencil stroke, I'm just gonna get some dark. Well that, that's not showing up so well through the light layer that's above it. So maybe I will come back above it. There we go, that's better. And we can smudge a little bit. Don't smash the texture right out. So now next we are going to go ahead and work on the overall shape and the spines. 10. Texture: Spines: When you use clipping masks, everything you do to the bottom layer that everything's clipped to is going to affect all this clipping masks. So if you erase a spot, all those clipping mask layers all look erased as well. They're still there, but they just don't show up. So anything you do to change the shape of this will also be reflected on all this clipping masks. So at this point, you can erase to make those wavy areas that we're seeing here. Or you can go to liquefy to a pretty small size. And I have no momentum. So this is all the way down. And I don't really do much with pressure distortion. We don't really need, we just need to be able to push and pull and push and pull. Not quite that much. So I'm going to push me go to a smaller size amount, about 20%. We're gonna push down, up here and then push down the top a lot actually. And then I'm just kind of get an idea of where, how many bumps there are. I'm trying to ignore the little dots I have for where I was going to put spines. This is the other way you can do it. Just wavy like this. By the time the spines are on there, it won't look super wavy. Now you can only do that to the outer edge. If I want to make the dark areas here look wavy, I need to go to that dark layer, go back to liquefy. Now I do have a lot of colors on that same layer, so I'm going to be really careful and turn my sketch layer offsite can see better loops and need to go back to liquefy. So the counter that I'm currently pushing around is not I think I went to be on this darkest layer that we did on top. So let's go to that one and push this one around a little bit. All right, so we just need a little bit of a wavy area for this particular part. So I found my darkest Layer and I'm pushing out around. This part is ok, does look in over here. Right now we're on to the spine layer. I'm going to layer that is not a clipping mask because I don't want it to just be contained to this base shape, pinning it to stick out. And I'm gonna go to, I'm just going to go to this really light color for now. We can change the color later. Go to cactus three and go down to the spines. These two called thin, are great for these super spiky cacti. The brushes not pressure sensitive. So it is going to be the same size. Everywhere you tap. Unless you adjust it here. And then I wanna go to my sideways when here for the outer edge wins both forever here. There's quite a few up there. And then this one, you have to change the direction of the canvas. So basically it's going to point up. So if I wanted to point this way, I'm going to rotate this so that this tip of my cactus is right. There. Doesn't seem to be going where I tap it. There we go. Now, if you feel like those are bold enough, you can duplicate that layer. I am going to add another one over here. Here we go. With longer spikes up in here. That's good. So this cluster you could do on a, on a multiple layer, so you can kind of color them differently as well. All right, I need to go to a layer under those. Go back up to ink. Maybe get a bit of a light brown color. And you can see these little white areas are late areas underneath. So we're just going to put a little blob underneath. So let's alpha lock O and that actually turned into clipping mask. So let's take that off of clipping mask. And let's go back up to the spine layer and two-finger swipe to the right to alpha luck. And you can look over here to see they're very orangey, almost like the Terracotta. So now my spine layer is alpha locked and I can pick a nice orangey terracotta color. And then just maybe soft crayon. And just have fun coloring those in. Hopefully you can see that just kinda nice texture. Some variation. Maybe they're darker and near the center and lighter near the tips. Whenever you see here or make up your own thing, change to new color. Maybe you get a bolder color. There. There we go. And you can do the same thing to the layer that we did underneath for those little blobs. Alpha luck. And just add some texture to those as well. So I'm going to zoom out and I really like my cactus. I feel like it needs a little some Dane and I think it's the highlighted areas. So if you look here, there's some highlights on each little as these little bumps here. And then this side is really highlighted. So I'm going to come back down and I'm going to a clipping mask on top of all those other Clippy masks. And I'm gonna go to this light blue here. And my wide pencil stroke and gently will, can ever hear. It looks like the highlights are on these up hill sides of each of these little bumps. Very gently tapping and pressing those, get some highlights up in there. And a little bit here. Might even go brighter. Does a little bit of highlighting in-between these spines here. Tiny bits over here. Nope. Less and less. Barely touching the screen here. All right, I like that. I think that gave it a nice highlighted little section of the top of each one of those little humps. And let's turn our pot on Willits group, all of these together. Group. We didn't include the outline layer in there. Let's do that. Alright, so we're going to finish this up in the next lesson. 11. Texture: Finish!: So now we have our giant cactus in our itty-bitty pot, and I want to move it around and get it where I want it to go here. Maybe give it a little bit of a tip. So it's not too perfect. And I'm gonna go down into my plant group to the main layer here at the bottom. And I am going to erase with my ink. So if you don't want to erase Do you can tap and tap mask and then draw with black on that layer and it'll just appear to be amazing. So I'm going to erase here. Why isn't this working? And not on the right layer? I have multiple layers selected. Okay. So I'm just kind of wonky, chunky, uneven erasing down here because the dirt is going to be kind of crumbling around that. So it's not going to be quite at this sideways angle, it's more down in, so we're going to be able to see some dirt in there. And we need to add that now. So you can choose to add dirt above or below the cactus group. If you add it above, you're going to cover your spikes here. So I'm gonna go ahead and add it below. I haven't layer right here, that's nascent free. So let's go to this orange or you can go to this blue. So if you go to the orange, I was just going to go down to I mean brown. I said blue. I was going to go to this orange and then just bring it down to Brown anyways. Why pencil works? Let's get some dark brown in there. I went to probably get multiple colors down in there. We're going to go around. So the back of the pot, it's a You're not going all the way up to that edge. You just getting center down. So you can see the wall if the pot down there and come around and erase with the same brush. Just to expose my little edge here again. I think I wanted to just add a little bit more variety. Let's add some light spots here in there. They kind of have a soil that is full of little chunks of stuff, little rocks and things like that. I just want to have it be a little darker down here around the base on the cactus itself. So I'm gonna go to this overlay layer and go to black. And just gonna stand that white pencil brush and just get some dark areas down here. And we'll blend with that a little bit to be careful you're on a layer that already have some other colors on it so you don't want to blend those. Alright, that's much better. Alright, looks good. Now we need a shadow. This is why I save a layer, a very, very bottom shadow on a textured thing like this, you can do with a texture. So remember we were kind of lighting that pop from over here and maybe, and making the shadow cast over here. So you can do that. You're gonna make sure that the darkest dark is area is re under the pot so it doesn't look like it's floating, teeny, tiny dark area under the pot and then let it get lighter. Depending on the angle of the light is going to affect the shadow. Alright? And you can blur that if you want or you can smear it. Blurred a little bit. I'm gonna smudge it with my soft crayon maybe let's see. Nope, I've never liked the smudging of the soft cram. Maybe if I just stroke it like this. So now I'm kind of making a messy shadow. But unlike in that, and I have pulled my dark layer away too much, they need to add that back. But I'm liking this messy shadow over here. I'm just going to come back in and get another ger area under here. Alright, so there is our finished cactus. And next we're gonna do some fun stuff with backgrounds. 12. One More Texture Pot Tip!: There's one more thing I want to show you about the brushes in cacti three. And that is the expressions array here. Add a layer on top and we're gonna go with black. So for these pressures, I just wanted to show you how I use them. I draw a line and let it snap to a straight line. And then you can put your finger down and I'm adjusting. Hopefully you can see the gaps between each section. I'm adjusting until there's no gaps. And then let go. Once you get your designs however you want them on your part, you're gonna treat it kinda like one piece after this, just like we did on the Terracotta pot, where I erased some and I moved it around. So it's all in one layer. Can move all around. You can turn this into a clipping mask, so it's only showing up on your pot. You can go ahead and erase some of it with some fun texture, just like we did on the last one. So it gives it a bit more of a rustic feel or an aged field. You can leave it nice and bold. And then you're going to select, go to work and change the shape a little bit to make it look wrapped around your pot, just like we did in the cactus. Alright, so that's how I used to that. And then the inspiration for that is a pot in here somewhere. Let me see where it is. Here it is. All right. Have fun. 13. Texture: Backgrounds: Rate backgrounds. So I have a layer underneath everything and I'm gonna go ahead and add up into layers. Hopefully you guys have a lot of layers. If you look at something like this, see some faded, streaky areas and some wood grain that gets blurry as you go back. So we're just going to have fun with textured backgrounds. That dirt layer ended up not being in with the group. So if you want to have that end with a group, whoops, one of the ways you can get it to just be in the bottom of a group is to have the group collapsed like this and drag the layer into the group. And it's just going to add a layer in the bottom of that group. It's not gonna make it a clipping mask or anything like that. So we just grouped that dirt with the cactus. Now, I went to group this shadow layer in the pot. And now I have both of these. I can group the groups and have them all on one. And that's a nice, easy way to move it around. Now I have all these layers down here. And we're going to have fun with some of these textured brushes on cactus to this grunge streak brush is really fun. Let's pick a background color that we want to stick with. Maybe. I don't want to get something too close to the cactus colors themselves. So they don't went something too close to the Terracotta either. And that's kind of pretty kind of a poem, MI purple. Right? Now I'm going to select that colour. We go ahead and close this for awhile. So we have more screen space here. And I am on this grunge streaks and I'm maxed out on the size. So I'm already, and so I selected this color already. So you won't be able to see it unless you change to a different blend mode. And that's a nice way, multiplies a nice way to just get a slightly darker color. So this, you're just going to add the lab on. I love this brush. This brush comes in so handy. I'm going into a new layer. I'm also going to turn that one to multiply. Let me go to a lighter version of that same color. So this is where you just play. Okay, you're just gonna play around with textures. These are subtle textures. He went to cover up the one that we just put down. If it's a little too bold. So I'm on a lighter color here, but it's on multiply. So it's showing up darker still. See you can play around with blend modes for that as well. And everybody's gonna find blend modes that are favorites. And you can play around with color for discovering what colors work best with the Blend Modes, debt that you kind of tend to go to. So you can, one of the easiest ways to do that is to go to a new layer. And whatever your base color is, you can then pick some colors like, let's just go back up to monoline really, arena is going to add texture pressure's gonna solve cramp. So you can pick a few texture or few colors in a few shades. And then from there, on that same layer, you can just start playing with blend modes and see what it does. Sometimes I think, well, why would I use a blend mode? Why wouldn't I just pick this bright pink and add bright pink on a normal layer. And that's a great question that by monks do provide some really vibrant luminosity that regular layers have a hard time with bed. But also if you have multiple colors underneath that color that you're working with, that one single color is going to look like all different colors depending on what's under it. So that is a nice thing to have when you're playing around era and I'm gonna keep it on soft way, made it clear that layer. And I'm gonna go back to that weight never selected. And go back to my they settled textures here. Keep that grungy look on, but on this new soft late layer, at some later areas, here is a water stained cement may do down on me. Yet another layer. Multiply has some may streakiness to it. So lots to be done with blend modes and backgrounds. K And I've only scratched the surface. So then you would also erase some of these things with some textures as well. We try him on one of the other layers. So I'm gonna lighten up this area right behind the cactus and just kinda erase some with a different texture brush. So it doesn't just erase exactly what I put down. Two erasing this little different areas of each brush. Let's get a bit of a old barn wood down here. To do that, I'm going to go to a nice solid brush like my monoline brush. Put it on pretty big. And we're gonna pick a brown and lighten it up. Pretty light. Go towards orange a little bit. Let it snap to a straight line. Put your finger down to let it go perfectly horizontal and fill the rest in. Now I'm going to drag that up above others texture layers. Those are layers on the wall way back their pay. And I don't like this super hard edge. So I'm going to erase with the texture. So I'm in a race with, let's try soft crayon now is try wide pencil stroke. So you try whatever you want and I'm just erasing an edge here. And it just pulls off that sharp edge. And not worry too much about what's behind the cactus. You might want to worry about that a little bit just in case you move the cactus around later. If you know your Cactus is gonna go right there, you can just leave it like that. Alright, so we have a nice soft textured edge on that. And above that, it's turned it into clipping mask. We're gonna go with a dark brown right here and the width green brush in Cactus too. That's going this way. So we're gonna turn our canvas display, decide what size we went the grain to be. We have a very bold green rate. Now, we can turn the opacity down. We can change the blend mode. That's an a spline mode, soft, late, hard light. All depends on how much you want this with green to show up. So I'm going to keep it nice and faded. And underneath that, I'm going to just play around with some grunge and just get some nice streaky colors under there. So let's go ahead and turn it this way. So I'm on a layer that's now a clipping mask anime underneath that with green. Snake gets some variation with the streaky brush. And we're going to match this to one kinda washed out would look into the more gray browns. And I'm going darker in the back. And I'm also going darker over here because it's, the light is coming from over here. And remind me to turn this shadow layer on multiply. And then it'll blend in really well with what we've got down here. Alright, let's manage with that same streaky brush. So we're getting closer. Let's go up before I forget and turn that shadow layer on multiply. So I'm, I'm pretty happy with how this looks. But I think that if we were to look at the reference photo, we would see that it's. Darker back here in that, it's also blurred. So to blur, I don't want to blur all of it. And mostly I need to blur the wood grain. So I'm gonna go to the width green layer. And I'm just gonna select this back portion. Tap the circle to complete your selection and go to feather. And the center is feathering the edge of the selection. So that whatever we do in the selection, it's not going to be a hard line. So if I'm blurring, it's not going to go from not blurred to blurred along crisp line. If that makes sense, it's going to be kind of a feathered effect to the blurred. So now I'm going to blur. And then watching ME green back here and it just blurred it to 4%. And they did the same thing with some of the texture layers back here. We might have to do these one at a time. And you can make the selection whatever shape you want. And another layer. O it kept the selection. That's great. I did not know that. So this selection shape stayed the same. I switched to a new layer and I was able to blur that later as well. So let's go ahead and go to that layer. And that layer as well. Ok, perfect. Let's zoom in and you can see that now I have some other blurring I need to do on the wood grain, on the streaky layer. So I'm going to about 3%. That looks great. So now the camera is in focus up here and it kind of fades out back there, but I also want to darken it back there. So let's go ahead and collapse this group. And I'm under the group, which means I'm behind the cactus. So I'm on top of all of these other layers, but I'm behind the cactus. And let's go to a multiply layer and just start with multiply. It will probably play around with those colors and I'm going to middle gray here. And it's really up to you what, which one of these brushes you wanna use? I'm gonna go down to air brush. To the big air brush. I'm just gonna do a little bit airbrushing back here. And I'm not liking that color right now because we're just not multiplayer. But let's try a different blend mode. Okay, so go back up and we're gonna go back to Linear Burn and drop the opacity. There's our cactus. I really like that purple. If you don't like the purple, these purple layers or blend modes. So you should be able to change this purple in those layers with the texture change because they're on a blend mode, they actually change with the color behind it. All right, there we go. 14. Class Project: All right everybody, we did a watercolor look in a high texture look. And your project is to pick one. Try to do when that's different from the two we did in class. And come up with your own unique variety with those reference photos using different pots are different cacti and use the similar method, one or the other or both. And I can't wait to see what you guys come up with, post them in the projects. Come on over to the Facebook group. All that information is in my skull sharp profile. And having a day, have fun drawing cacti.