Spring Illustrations in Procreate Part 1 | Jennifer Nichols | Skillshare

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Spring Illustrations in Procreate Part 1

teacher avatar Jennifer Nichols, Leila & Po Studio

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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

17 Lessons (4h 41m)
    • 1. Introduction

    • 2. “Spring” Pt 1 Sketch

    • 3. “Spring” Pt 2 Flowers

    • 4. “Spring” Pt 3 Bird and Text

    • 5. Sun, Clouds, Rain

    • 6. Rain Boots

    • 7. Umbrella Pt 1

    • 8. Umbrella Pt 2

    • 9. Bonus: Realistic Rainbow

    • 10. Week 2: Birdhouse

    • 11. Loose Flower Designs on Birdhouse

    • 12. Goldfinches on Birdhouse

    • 13. Bonus: More Loose Flowers

    • 14. Purple Flower and Water Droplet

    • 15. Orange Flower and Water Droplet

    • 16. Robin Nest

    • 17. Bonus: Fun with Text

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About This Class


Try these beautiful spring illustrations any time of year! I planned the class to be able to be used as a 30 day challenge (if you continue to the next class) in less than 20 minutes per day! But you can also skip around to the prompts you like!

Don't forget to download the Resources for the class. You need to be in landscape mode on the iPad, not portrait. And you need to be on a browser, not in the app. 


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: Welcome to my spring illustration class weeks, when and to in this class, I'll show you how to sketch your designs using reference photos, sometimes not all the time. We'll explore a few ways to illustrate and color with texture and all sorts of fun. Blend modes, layer masks, clipping masks. We do a little bit of realism as well. I provide 14 free brushes as well as some other resource is. I've also grouped together the procreate native brushes we use in class just for easy access. We'll explore Cem loose floral illustrations, and this is actually a great class to use as a 30 day challenge for yourself. By the time I'm done, producing this class will be four weeks of prompts and some bonus videos as well. So you can do went prompt per day and have a nice 30 day challenge for yourself. Weeks three and four will be posted as a separate class, so make sure you look forward to that. Come and join Liz Color Brown and I over in this wonderful Facebook group, you can find me on Instagram and on my website. In the about section of this class, you can find a link to the Facebook group and request to join. And you'll also find the information for finding me on Instagram as well as the hash tag to use for the work. From this class on Instagram, I hope you can join us. 2. “Spring” Pt 1 Sketch: Okay, We're going to illustrate the word spring and some nice spring things around it. I like to sketch with my six be tapered brush and just kind of sketch the words spring here . We're gonna have a little bit of a ground area under here and have some flowers. So I want to stem here with a flower up here. I think I want a flower over here. Maybe a pyre and a smaller one over here. Stem stem. It has some smaller flowers down here at, and I think I'm gonna have a little bird down here. So if you just kind of make a little maybe bird looking up if you can't sketch upper just off the top of your head, you know that? Just looking a quick photo. And I just do a little half circle down here and then on a straight back curved head. So what, We're gonna come back to that? You don't need to worry about that. Maybe another one of these flowers. Samos days. And just get the overall idea of what You're what you're going to do here with some flowers . We're gonna look at some references for flowers. I think that this one might be my tulip. And this would probably be a good daffodil, because I have a lot of space here, can make it bigger, and then this one can be a daisy. I don't have enough as much space here with the Big s, okay? And then they'll be some leaves filling in some of those areas. Said his get a very basic general sketch and then we're gonna look for some reference photos. I think we might want to do a Robin, So go ahead and type daffodil or whatever flower you actually want to do and go to images. I am thinking about having one that faces a little bit to the side like this. I think I like this one right here for shape, something to tap and hold and add that to photos. So I'm looking at two lips. I don't want to draw a super closed to lip like this. I want one that's a little bit more open like these. You can see the leaves come all the way up to the flower. If you need to find a better reference photo to see what those leaves are going to look like you do need to be able to draw the leaves. Here's a good one right here. So they're just kind of a big spike that comes up pretty high. So I'm gonna go ahead and grab that photo. These air, apparently a type of crocus, and they grow really low and they start coming up even in the snow. It do kind of want one that's looking up. And I'm actually specifically looking for an American. Robin, just for this, you can You can search on whatever spring bird works for your area. That's kind of a sign of spring. Well, I can't find the, you know, exact pose that I'm looking for, but I think I can use just a nice profile of a Robin and just imagine what it would look like when it's head is pointing up. So I'm returning that layer down the opacity down, and I want to do a bit more of a finalized sketch here. I need my reference photos pulled up over here, so I have an angle back here in a nice round belly. And then if that head is angled up, gonna turn that sketch later down, even more. I think that's just fine. And then it looks like hiss, orange coloring can it comes here and then his wing goes way back here and then his tail comes way down here. I'm seeing hiss legs going this way, and we're not worrying about feet today. I think I'm going to make his back look a little bit more pronounced here. And I'm also seeing the Cem rows of feathers here, right here and right here. All right. I think that's good for a little sketch and I end up making them. We're not going for realistic. So if you want a more stylized look, you can exaggerate some features. Now I want to look at my crocus pictures or whatever you are choosing to dio for your small ground flowers down here. So if you look carefully at one of thes, you can see 123456 pedals. It looks like they all face up in kind of this bowl. Not bull, but almost a triangle. I can see two pedals facing me over here. It can see another pedal. Here, let me zoom in for you. I'm looking at this flower right here. and then behind this panel, I can see almost this full pedal back here and behind that one, I could see another pedal and then a pedal over here. From there you can add the little centerpiece and then down below. We're just going, Teoh, get rid of that angle there. We're just gonna have a little stem, and then they just have a couple green leaves that air Nicene. Spiky. When I was starting out, I used to draw one and then duplicate it. Um, I felt like everyone single flower took me so long that I couldn't possibly imagine spending a whole bunch of time doing different, you know, angles of different flowers. And so if you want to just duplicate these crocuses across the bottom, you're welcome to do that. I'm going to go ahead and speak at this video and spend some time drawing a couple more of these, even though this is a bad angle here. - All right. I want to move on to my death, Fidel on the deaf. It'll if you can imagine this centre bell not being there. You're going to see almost a trillium shape right here and then the other triple pedal right there. So if you put a little center to say you know where to start the pedals from actually a bigger center than that it looks like I have a pedal. That's this shape and there's three of them. And then behind that, there's three more. I'm gonna erase that center on a new layer because this is going to get messy here. If you look at this ruffled edge is like an actual circle, and it's covering those pedals over there quite a bit, and it's coming over right to the middle. If you look at where the middle of thes three pedals are would be right about here, which is the edge of this circle. So if I'm have my circle coming to the middle and covering these pedals over here on the right, I want this to be roughly so. I'm going to remind myself of fat in my sketch, and then the bell is rather small. It doesn't come all way to the edges over here and over here, so it's not coming down like this. It's just down here in the middle, so I'm gonna go back to the layer that I drew my pedals on and just erased those pedals in the middle there. So that's your basic daffodil. I know that looked pretty easy, didn't it? And then you have some nice stripes coming down through each petal, which we can do with texture later inside, you have. You have, um, a nice, wide rippled area, and then you have coming from the very center and up you have the pistol in statement that are in every flower. And then I'm looking at these lines around here. They're all kind of going in to the center for this stem. We're gonna pretend like we can see this stem at the middle of the flower back here, and it's gonna become in straight out whatever direction you want it to be coming. I don't want it to have to be way over here. Some Nika curved this way with it. That kind of looks like it's falling over. So maybe I'll have it go hiding behind that flower right there. And it's, um, leaves on there. I didn't get a good picture of what the leaves look like on a daffodil, but I think they look like this. Whereas a tulip looks more like this. All right? And I'll play around without stem later. Let's go toe to lip. You want me to lip to be about that big? Which is why I have my sketch back there kind of showing how big I want that. And if I'm looking here, I am seen. This big pedal right here is a big circle mn It has this kind of a nice split down the middle. This next pedal over here is the same circle, but it's turned sideways, so it looks more like just an oval. And it's coming almost to the middle of that pedal, and it's a little bit taller, and we need to keep in mind our tulip shape here. So I didn't have the over way over here more this. I'm not going to draw a curled one here. I'm just gonna draw another one just like this over here and then the ones in the back. So it looks like we have when that comes right to the middle, another one over here and then another one in the back. And they all have a split down the middle. Now I need to a race. This big first circle we did. And make sure that my overlaps are looking OK. Do you think I want a curve this pedal in a little bit. So I just came in like this. And now I have this nice to lip bell here. - You couldn't see those flower That leaves are nice in toe. They start down low and they're streaks Go this way. And I didn't look at a reference photo for a daisy. You think we can pretty much assume a daisy has a nice big center, And then a whole bunch of pedals for the daisy leaves Go ahead and bake. I just can't Sig Zaki Crazy leaves, Remember, we're going for a stylized look. All right, I'm going to turn off that main Sketchley or the back and on a new layer with a very bold brush, maybe even my big white pencil. I'm gonna write the words spring again. I'm gonna move that around. It's okay if it's covering important things like the birds face, we could make that p go behind the bird, so don't worry about that. All right? I think this will be a really cute spring illustration. Um, and we will add color to this and obviously, and change our letters. Uh, tomorrow 3. “Spring” Pt 2 Flowers: I'm going to show you in detail how I draw this to lip. And I'm going to quickly walk you through how I drew the other two big flowers. These little crocuses are basically just like a little mini tulip, so you'll use the same techniques as you will on the Tulip. Otherwise, this, uh, will be forever long, so on. And then I will talk you through the bird as well. So you're going to see some layers down here, And that's because I've already completed the daffodil and the daisy. But we're gonna just add a whole bunch of layers up here for the tulip and start choosing colors. So I'm gonna pull up my reference photo so we have that one. And this one is Well, I really like the colors in this one. The nice deep pink. But I also like the PCI colors in this one and them you can really see the strokes, the the lines, that and for for those things so well, don't start with this pink right here. And actually, you know what? Let's start with this pink. It's a nice middle pink that we can add some lighter areas and darker areas. I'm going to go with Studio Pen and I'm doing different layers for the pedals that are kind of overlapping each other. So on the top layer is thes two pedals. The layer directly below that would be just this pedal the layer below. That would be these two pedals because they aren't touching each other, and then a final layer underneath all of that for this pedal. I know when we were sketching, I said I wasn't going to show you how to do a curl like this, but I'll think about that. We'll see how, how much time we have. So a top upper layer of of one of your many layers I'll just sketch out. If you look at the tops, you can go ahead and try to get some of the shape down. Some of these tops have this in Dent, and then some of them have actually a little tip and you can't quite see. But they do connect to the stem down here. So even though we drew an oval, I am going to come down like this and Phil now I'm looking at this shape. I can change the shape later if we do want to add that little curl now on a layer under that and I'm just gonna dark in that color a little bit so I can see the difference. And I'm just kind of I want to make a complete shape so I can drag and drop the Phil and it looks like there's a little divot up in here. I'm gonna head on down to another layer under that, maybe make it a little bit more peach. Since we've got a lot of peach going on, this one over here has a a little end empt in the top there. And then I'll probably go back to this dark color here one more layer underneath ticket this final when that has a little tip. So that's our basic to let with the Phil right in there on a layer underneath all of it. I have a pretty light green, so we'll just go to that green. We're going to change that later. All right? I'm gonna go with a layer under that and change my green a little darker. And I think I can go ahead and turn that sketch layer off. So with the, um stem and the leaves. I'm just gonna alfa lock those by two fingers swiping to the right. All right, so the Salamanca brush empt. I'm sorry. So the jagged brush and I'm gonna go with a little bit more of ah, grayish light green and push it towards yellow a little bit. I'm trying to get this color pretty close. I am on the stem layer and I'm just adding some different tones. And then I'm also going to get my Grinch streaks, maybe a little bit later than that, and just get some nice fun texture on their. So start with that green you go down would be to a little bit more towards the blue. Well, I'm on my streaky brush. I probably will want to switch that. I'm going to go to the jagged brush, and I already bumped up to a lighter color. You go to a bigger size, so I'm just adding some texture. And now I'm going to jump over to this grungy brush, get my streaks back in there. All right, so I'm done with my stem in my leaves for the pedals. I'm actually going to Alfa lock those as well and I am going to change some colors directly on those layers, and I'm also adding a clipping mask on top of each one. So if you want to set that up and go ahead and do that ahead of time, where you could do it as you go and let's start with the very top to pedals here if we look here, it's darker down low, and then the edges air lighter, and the edges also have thes streaks in a really light edge. So I'm going to my water brush going to that color, and I'm just gonna go to a more pink dark pink and I'm tapping and swirling. I'm just getting some darker colors down here just to get some variation. I'm going to do the same thing for this next to peddle here. I'm gonna go a little darker. We could go back to some brighter pink, so I'm staying within a few different tones, and I'm just kind of adding here and there. I'm going to come in with a pretty light pink. Maybe this one right here. Yeah, let's see, we're on this top layer going to bring the size down and just add some lay edges. I'm looking at the lightness right here. If we're gonna make that look like a curl, I'm leaving it dark down here and I'm light needed up there. And I'm just going to do one more step up in brightness. Almost two white. So now I'm working on this very light edge right here, all right? We don't even have a clipping mask on yet, and I think it's looking pretty good. I don't it have a little bit more of a PG look going on, but I am going to go ahead and use a clipping mask for this next step, and I'm going to go to this pink. Um, that's just kind of in the middle. So it's basically this pink right here, and I'm gonna go with my light streaks. I'm on the clipping mask for these two pedals. If you look really closely, you can see those streaks. They go inward, and I have the blend mode on multiply blend mode to multiply. I'm on this pedal blend mode to multiply. Now I'm on thes two pedals. I am going to go with my smooth pencil. I'm on that same color check my size here, and I'm just gonna get some of these bold lines down the middle. And I want to get a nice, crisp edge on this Since we're making it look curled, I can't do that on a multiply layer. I am gonna add another clipping mask and it needs to be on normal, and we'll just pick one of these really light colors and still on that pencil. And I'm just gonna kind of very lightly out of edge there. I might go ahead and at a similar look on the edges over here, and I can actually see some down here. I look really closely, so I'm getting a little bit too close to realism when I start to pay attention to too many details. Um, I would probably go ahead and dark in this down here a little bit more, Um, when I spend a little more time on it. But there's a tulip. Now I want to show you how I did the same sort of method on the daffodil. So the daffodil you can see this stem and the leaves, the leaves or just a different shape. I've got a slightly different shade of green going on over here cause it's a darker green than the tulip Waas. And for the different layers of the daffodil, I have this many turn off Michael leaping masks. Here I have this sort of trillium, just three pointed pedal with another three pointed pedal right on top. If you look at a photo, you'll see that that's exactly what they look like. And then the ruffle on the bell that comes out is way over to the side. So just kind of look at where that goes, and then the bell part underneath it is right here. So for the different layers on this intersection, the ruffle around the edge as well as the inside I have some darkness that's on linear burn , and then I have some dark edges around the ruffle, some streaks and the pistols and stay Men coming up out of the center on this bell down here, it just added, since streaks and some highlights and low lights there, and you can see I already have a lot of texture on this base layer of pedals with some darker yellows and lighter yellows. And then I just added some streaks streaks. I have those set to multiply, and I have the opacity turned down to 40% but that's just something you need to play around with. So that's the daffodil and then the daisy. I actually let's see which ones easiest to see. The daisy I created first added this centrepiece. So I knew where the middle was going to be. And then I just drew when set of pedals around it and I did him in white and then Alfa locked and blob some pink on there. Then I duplicated the layers and I rotated those, and I colored each of those layers a little bit differently, getting lighter and lighter. I just Alfa locked the yellow center and added some textures. And then, on this top most pedal layer, I darkened with some pink around that just to give it a little more sunken in Look for the center, cause it was looking really flat for the leaves. Hey, literally just Quinn it. Ziggy's eighties abuse Ziggy, Ziggy, Ziggy, Ziggy. I don't know what they actually look like, and that's OK. All right. If we turn our sketch back on, I'm not going to show you how to do all of these little crocuses because they're exactly like the Tulip, although they do have more pistols and statement coming up out of the middle, so you'll just add a layer. Um, that's behind these two pedals and in front of all these pedals, and that will put you in the right spot to get those done. 4. “Spring” Pt 3 Bird and Text: So let's work on the bird. You can go ahead and choose this gray right here. I found a reference photo that works pretty well. I want my bird looking at. So I'm just going to pretend I can visualize this head. Tilt it where that's going to put the I and all of that. So going to make my whole bird gray. I'm doing everything but the beak in that gray. We'll come back to the beak. I'm going to go ahead and move that bird layer down. I'm adding a clipping mask and let's go to this really deep orange right here. You can either just keep drawing with be studio pen or you can go to the ribbon tool and just think about where you want the orange to be. Since it's a clipping mask, it only went on top of the gray. I'm going to another clipping mask. I'm gonna choose this gray, and I'm gonna go a little bit darker. But also bring this up to the orange one, a little bit of a orangish gray. It's just a warmer gray, and I want to get the wings just some basic color here. I'm gonna go ahead and use the airbrush eraser and fade this out up here. So I'm fading this section right here and the same thing with that orange that just helps it blend right up into the GRE. And then I'm going to do the same thing on the orange down here on another clipping mask. I'm gonna go toe black, actually. Do you know what? I'm gonna go down to this base gray we did for the whole bird, and I'm gonna Elsa, look that and let's just shoes my water brush damp my damp brush and you can see his whole head is black. I'm just gonna get it nice and black up here. All right? Now, on a clipping mask, I'm going to do some of the facial details. So we need a nice really light cream color here, and I think I'm just gonna use my six b taper. I just see some my areas around the eyes and then a very black eye in the centre might not show up so well on the black. We just did. But then we're going to get an almost white, bring the brush tights down and get a little glimmer on that. I So we're pretty much done with the basic outline and color for the bird. But we're gonna add some nice texture and some more color for the orange belly and things like that. I'm going to go under that graybeard and I'm gonna choose this medium rose right here gonna bring it down right to the middle. And that gives us a pretty decent leg color. I'm seeing some white flies here and then some. Some like color there, but I think I'm just gonna keep it all one. And we're not worrying about feet. All right, on top and not on a clipping mask. We're gonna get the beak. We're gonna get a nice bright yellow me to go ahead and go back to the studio pan groups. And I'm looking at how, and it doesn't just come straight out. Doesn't just come straight out from the head. It also comes back towards the I. So we have the part that comes straight out, and then it's a little curvy part here that goes down towards the I. I will Alfa lock that layer, go to a little bit more of an orange, and I think I'm just gonna go to my tapered six b, going to turn that sketch off so I can really see what I'm doing here. And I'm just kind of getting a line and kind of make darkening the underside here. Skins and texture. It's kind of a dark tip there, and I'm gonna move in a tiny bit. Okay? I like that. I think that's done. And now we just need Teoh. Add some more texture too. Um, the wing and we're gonna do it right on these clipping mask clears. Oops, that was already Alfa locked. So right now I'm on the dark gray wing layer and it's Alfa locked. So I'm gonna go back to this light gray or a lighter gray and just come to my list to my bold streaks for this orange layer. Before I do any other streaky things and texture, I'm gonna use my damp brush and lighten up this belly. See? It's lighter up here and I'm gonna dark in. Let's go to that red underneath. I'm gonna go even darker. And now let's go back to this lighter orange and to our syringe streaks. I'm doing kind of a circular motion. I'm hoping to get a little bit of ah, look of all the little individual feathers, but it's OK if it's not like that. And then finally, this is that base layer of the tail, and I'm just gonna go to a black and get some streaks on there. There is a light color in there as well. So go to a lighter grey. I might even go to this cream color and come down in size with my streaky brush and just get some streaks. Those streaks need to kind of continue on to this orange. So I switched up to that orange lier, and I'm just getting more texture on here, as in playing around and back down to this bottom layer. And I'm noticing the white around here, so I'm just gonna add somewhere streets here and I'm to call that Robin done. So just one more thing, and then I'll come back and show you the final product once we get the crook Asus drawn. But before we do that, I want to go to the top layer and add text type the word spring. You can see it right there. I thought I could change the color and it text. There we go. I'm actually just gonna make it white at a text at style and make my text box bigger. And bring that size up. This font is called core Georg or get. I'm not sure how to pronounce that. I may have downloaded that as a free funt. Um, I talk about how to do that in my hedgehog class. No, I'm sorry in my valentine class. So if you're not familiar with the text features, then that's a good place to hop on over. One of the earlier videos talks a lot about downloading some free funds and, um, how to find them and how to get them in to procreate. So, I mean, I'm happy with that. I did that fast. I know. Um, so find a font you like, and make the words spring and then rast arise it. Once you have it at the size that you want, go to a layer above it and type. Um, turn it into a clipping mask and find some fun textures. Then you start looking at colors we already have used and to start adding textures right on top using a clipping mask. You can use multiple clipping masks if you have the room, and one of the things you can also do is go ahead and duplicate that word spring. Go to the bottom land Alfa lock back and go to black or a super dark gray and fill it and then take the Alfa lock off and come over and blur it about like 10%. That's just a look to kind of give it a little bit of a pop off the page. You can turn the opacity down on that layer if you don't want it to look really obviously up off the page. And there's your spring illustration. Um, almost ready. I'm gonna go ahead and Alfa lock this white and she's a very dark pink and it's on my damp brush, So there's a whole bunch of lettering I ideas out there. You can find some really great things to dio with your actual script, but this is just one quick idea for using the text future. If you look at our sketch, we're almost done. We have some crocuses don't here. I'm gonna use a purple that matches really well with this purplish pink in here and hopefully doesn't clash too much with this peachy rose color here, and that will be it. So I'm gonna come back when I am done and show you what I got. 5. Sun, Clouds, Rain: I'm gonna show you a fun way to dio some clouds and the sun and some rain. And it should have a nice texture, but a little bit of a watercolor. You look in the spring class brush holder. You'll see Cem native brushes that I just threw into this folder so I can access them easily. And then in the gen Brushes, you'll see the brushes that I like to use in this class as well that I created and are free for you to use. So I'm going toothy gen spring class category and choosing studio pen. And I'm just gonna use a light blue. You can choose this blue right here. E think about clouds. That kind of typical cloud look is flat on the bottom, and then they kind of curve around and think about cumulus nimbus clouds and, you know, have them have a nice bubble on both sides, and then this part can be, however you went and then make sure it's a closed shape. Once it's a closed to shape, you can fill it. This is a good time to just touch up any areas that do you think need to be fixed and get it to the shape you want it. I'm actually going to do a second shape. We'll just use a little bit later. Blue. I'm trying not to go with a white because of the white background we have. And I'm just going to make another win That's a little bit smaller. I'm gonna shrink that one a little bit once you have the clouds the way that you like them . Uh, go ahead and add some clipping masks to each one. So let's just say to clipping masks each for now and we'll turn this top one off and just work on this one. For now. I'm going to go to a very, very, very light gray And let's just go toe Laura Poona, Remember, you're trying not to make this. We're trying to have a very illustrated style and not a realistic style for this. I'm going to go ahead and do a Laura Poona layer on this one as well. I'm gonna go ahead and go all the way toe white, since this is this is a very light blue already, and I'm just adding some swirls. So I'm going back to the second clipping mask on this bigger cloud. I'm gonna go ahead and select this blue color here. So I know where I'm at and then just come down a little bit darker. A selected my grunge streaks. And since clouds are sort of a circular look to them, I'm just gonna go ahead and but some swirls on there. If it's a little too dark, you can change the opacity on that layer and let's go ahead and turn our next one back on. Go to that second clipping mask for that, choose that blue and just go a little bit darker with that one, too. I think I need to decrease the size of the brush for my smaller cloud. So for now, I'm really liking the swirly nature of these clouds. I am going to decrease the opacity on that one as well, and I think I need some more bright spots. So I'm going to go ahead and go back down to some on this cloud, and I'm on that first clipping mask layer and I'm gonna go white and let's just go to it's good hearts and I'm just gonna go around the top edge and then I'm going to do the same thing for the clipping mask, the very first clipping mask on this one. And this way we're keeping a consistent look. Using the same brush is going back and forth like this. That's the only reason I'm going back and forth like this. I am going to add some dark, moody, rain filled clouds. Look down to the under science. Let's turn this one off and just dark in this a little bit. I think I need to bring my brush size back up. We won't be able to see this part over here too much. So could just see this part. And now I'm on the clipping mask for this. That gray is going to be a little bit too dark, so make that a little lighter and a stark in the underside of this cloud. All right, let's zoom out and see if we like that. I like that. I'm going to group that one cloud group, that other cloud and I have them on separate layers. I can move them independently, since I completed the layers on each cloud instead of just filling in this area. But I am right now just going to move them at the same time and make room for a little bit of sun. Okay, let's bring a layer down below all of those and a couple more layers, because that's kind of what I do. So we're gonna work on this, son. We're gonna choose this creamy yellow right here. You can choose whatever yellow you like. I am going to go ahead and go back to Studio Pan, and I'm gonna dress circle, tap it so it makes a perfect circle. And now I'm turning my clouds off so I can see what I'm doing. I see that the circle is complete so I can go ahead and fill it. So I'm just going to fast forward here and fix this up, okay? Now that you have your son looking just how you like it now, my son is not very nice if I hide these clouds, but that's okay. I'm gonna plan on keeping those clouds there. And I'm adding a clipping layer on top of that son. And I'm Alfa locking the sun by two finger swiping to the right. Let's go ahead and turn this clouds off and shoes them more orange color go to Jin's damp brush and just get some more color on this base. Son here. Now let's go to apps. That was on a clipping mask since that was on a clipping mask and actually wanted to apply to that main layer. I'm just gonna merge them, and now it's all on when So now I need a clipping mask and I want some streaks. So I'm going to choose thes light streaks and a nice orange color could probably choose that and then come down a little bit redder. So I'm just put in some light strokes and then let's go to this tiny hatch marks. So unless you almost can't see that, but it is kind of a nice, subtle texture, and then I'm just going to fade that opacity down, and it just lightened all those streaks. I'm going back down to that main layer, and I'm going to a very, very pale yellow and back to my damp brush. I want to brighten the same areas, so I'm gonna brighten this center. This isn't frightening the clipping mask so you can still see all those little textures we put on there. This is just bright name the very bottom layer of the sun. All right, so there's our son. I'm going to go under the Sun and Shoes Studio Inc Studio Pen and let's just choose a very , very light teal. I'm gonna put that right there. Said she's this late, teal and have your pen be pretty small. I met about 12% going to zoom in for you, and I'm going to make little raindrops. So this is going to take time. I'm gonna make thes two smaller and move them. That moved them up in there because what I'm gonna do is duplicate this and then maybe flip it. Sometimes that gives it a different look that I'm not going for and it's on its own layer. So it's OK for overlap, and you need to erase a couple of them or move a couple of them and I'm on lee having rain coming down from either both of the clouds or just one of the clouds, but not over here. Keep duplicating that first original drawing that you did so just play around with that, and once you have them already with them, go ahead and combine them. Add a layer above it, and you can just make it a clipping mask. Or you can do the method where you tap, select and then go to a layer above it, and you turn this layer off and do some some work. I see some rain drops up under these clouds here, but that's okay. They'll be hidden. So instead of the selection tool, I'm going to go ahead and keep my raindrops teal as a base underneath all of the clipping mask clears, and I'm going to start trying to give them a water color. Look, I'm also keeping in mind some of the textures were used up here, so I have a illustration at the end that is cohesive. So I added the wet glaze brush to the spring brushes and let's go to this blue right here. We're just gonna were on a clipping mask and this, so that's not showing at super well. But this brush is a multiply brush, so it keeps getting darker and darker. As you add, add, add, add add as you can see so you're going to decide exactly how you want your rain drops to look. If you don't want that base color to be a teal color. Then now's a good time to change it. Maybe you want to just have it be white. So goto alfa lock goto white and have filled their So now you don't have a base teal color that you're dealing with. I'm also seeing I don't like these two big drops right next to each other. So if you're on that base layer of the rain drops, you could just carefully select one and move it around, maybe move it up a little. I could spend a lot of time fussing around with making the rain drops looked perfectly random. Perfectly random. Is that a thing? Okay, so I just use that wet brush went glaze brush. You can get a really dark look. I'm on a was on a pretty light blue when I did that. So in my history, it's right here, right here, and go and start giving maybe a smaller brush, size and start, um, giving a watercolor look to each one. If you look closely, you can really see a a pretty cool watercolor effect. I'm going to go to a little bit of a darker blue so you can see it a little bit better. And remember, we're going for texture and we're going for an illustrated look. Obviously, raindrops, you know, don't look exactly like this. And this isn't fun way of just making each one look a little different. So did our duplicating of our layers earlier on. We didn't colored them in and then duplicate. Um, so now we can give every single raindrop a different look. Even though many of these raindrops are duplicates of each other as far as the overall color goes, these are more of a grey blue, and these are a brighter blue. But I'm liking that a lot. I think the shades of blue um, go pretty well together. If you're not quite sure about the blue in either these or these, you can always select the layer that your questioning and play around with the hue saturation brightness. So I've got this the blue on this rain layer and maybe I want to make it gray or darker and have a completely different, very stormy rainy day. But yeah, I like this more of a grey blue. If you play around with ease and you don't like it, you can tap the screen and tap reset. It goes back to the original. I think I am going to darken those a little bit. I don't want them. Exactly. The same color is the clouds, so I'm going to make him a little darker. And there we go. So I think that's a Superfund illustration. You can do some stuff in the background, make a blue sky in a gray down here. Something like that. I can picture, you know, maybe an illustration for all the different, um, images that you might see in a weather app. Like with wind. You could use some of my streaky brushes to make a swirly wind. And, um, Snow and all the other weather app ideas. All right. Can't wait to see what you dio. 6. Rain Boots: Alright. It's time for rain boots. I just did a Google image search on rain boots and we're going to do sort of a side boot like this. Then we'll make it into a pair. You're welcome to choose any style of boot you'd like or that maybe different directions like this one. I'm gonna go ahead and choose this bit right here. Someone tap and hold an ad. Two photos. I'm in a 10 by 10 canvas. I'm going to go ahead and bring my photos over. I added several layers. I'm going to the top layer and just choosing to sketchy pin pencil. So the bits pretty tall. We've got a little opening here, barely noticeable. And then basically, straight down from there, is the hell going to go up a little, cause it looks like the toe comes down a little more. And I'm already realizing I need to be way over here. Okay, so this back part is down for the most part and then curves in Not too much. I just did a little too much there, and then it curves back out for the hell. So it is getting a rough sketch here. This front side looks, I could just come straight down and then it curves over at the top of your foot. The angle on this boot, This coming down this way gonna go ahead and get rid of that. The hell looks like it's almost in the middle of this section. So I'm gonna put my heel right here and then this foot, the ball of the foot kind of curves up like that. So the overall general shape and then we have thes black layers down here. So the hell I'm looking at this layer right here and then another black layer on top of that, if you look closely, you'll see part of the heel going that way. Said this. This little black area down there and you'll also see a little bit more of some rounded areas and some tread on there. And those are details that you're welcome to add. We're doing a very simple illustration. I can see that this bottom black part right here kind of sticks out a little bit more than this part here. And when I step back and look at this, I think that my curves are a little bit off so I want to just fix those up a little bit, and I think the top needs to be a little whiter. This part is looking pretty small. So I am going to come over here more and just open this up. I'm gonna go to a bigger eraser so I can get this out of here. And that looks much better to me. I'm not worried about the buckle and all of that. Although I do see there is a black layer here. We're not doing all of those flowers. You're welcome to do those flowers. I was actually considering just a stripey boot. Just make up whatever you like. All right, So let's turn the opacity down on that sketch layer. I'm going to keep this here because I want to see some of those, um, highlighted areas. The other option is you can actually just baby choose a bright color so that you know later that that was the highlighted area and just Canepa tsum markings for where there's some bright highlights. Okay, I'm going to studio pen, and I'm going to black, um, on about 16%. And I'm just going to do the full outline of this boot all in one piece. - I am going to go ahead and turn this sketch layer off for now and add a layer above it and choose clipping mask from here. I'm gonna just get some color on this area that isn't black. You can do this with any of any number of brushes. I think I'm going with a purple. I'm turning my sketch layer back on, although I can't see So I'm going to Alfa Lock that go to a white and half fill. So now my sketches white and I can see where all my lines are And I can see this little opening and all the things I need to see I'm going to erase some of my purple So selected, that clipping mask And I'm just gonna get some of the purple off of where my black rubber is And on a new clipping mask. I'm just going to go to this dark gray and I'm on my wide pencil. I just want to get this inside of the boot. So we turned that sketch off. You can see the inside. It looks like I have some purple two years right here. So that looks sort of like an inside section there. And then we have ah, are pretty basic boot shape. Have some more purple to your race down here and now it's time for some highlights. So I'm going to yet another clipping mask and I'm gonna go to a pretty light gray. I'll go to my big monoline brush because I don't want texture. She's a gray at full opacity and try to hit that color right there. So as I started doing this, I realized I want to do the whole thing with gray and even a little bit lighter gray. So that layer I just did. I'm going to go to the hue, saturation, brightness and Brighton at a little bit, and now I want to do some black on top of that good. Another clipping mask. Bring down my size of my model and brush and get that black line on there. Is he black down in here? And because I am on my own layer for this, my clipping mask is there. My sketch layer is sort of in the way because I'm on my own layer for this. I can kind of add too much in any race. Oops. That was a baby racer. I'm just getting that little shadow under here. And what else looks dark? I see some dark spots on the backs of these treads, and I see some darker areas in here. I really don't want to mess with this particular line, So I'm going to yet another clipping mask, and then I'm going to select this light gray. Go back to that black line. I just drew lips. Sorry. I need to select this light gray and then tap invert, go back to that black line. I just drew topping again and talk clear. And that cleared everything that was outside of that gray area. I hope that makes sense. All right, I'm gonna go back to a lighter grey. Well, kind of not a late. Great, I guess. And a really small monoline. Just get the edge of the boot up. Here you go a little later. Go to any one of these clipping masks and I think that will use Salamanca in artistic. No, in painting, some on gray, I'm on a could be masked. That's at full capacity. And I just want to get some of these streaks, and I'd say that's a pretty great basic boot. Okay, you could go into vintage and go to the flowers, put some flowers on your boot. I would erase the ones on the black there, but this is pretty cute, all right, that's a lot of layers. Go ahead and duplicate that. Bring that duplicate underneath the originals, flatten it, make it a little bit smaller because it's technically a little further away. When we do this, maybe just tilted a little bit and then on a layer above it because it's already flattened , do a clipping mask, put it on, multiply she is a gray and go to the airbrush and just give it some shadowing. So we're shadowing this one behind here because it's on multiply and we're on grades does darkening all the colors. So, of course, you don't want to do the shadowing until you know exactly where you want the placement of the boot and that shadowing is mostly Teoh give you a little bit of ah, distinguished look between the two boots. Go to a layer underneath and let's look at the shadowing under here. If you look, there's a little bit under here. There's a lot more under here and then this little toe peace doesn't come all the way out to here and there is a bit of a gap and there's just some night shadowing there. So we're often airbrush, which is great. We're on gray. Let's go to Black. So just shattered right under there. This book is a little bit more curved up, and that's the only shadow I see in this picture. So that's all we need to dio. Oh, you know what I would do differently? I would actually do that flower layer separately so that they aren't identical. All right, there's your boots. I wanted to edit this video really quick to show you that I I actually edited the flower earlier on this boot before I flattened it. And the way I did that was when I duplicated this boot. I went in and I grabbed the flower layer, so you'll need to move the boot first. I grabbed that flower earlier, selected it, and then I just moved it around. And then you'll have to erase some of the flower that overlaps on the black up there and then and then once I did that. I mean, you can flatten it. I just accidentally deleted it. You can't flatten it or or not. If you have enough layers and then your boots don't look so identical because the flowers are different. You'll also notice that I I left this part the lighter color, and and I darkened this great right here. All right, so I just made those two quick changes, and I wanted to point them out to you. 7. Umbrella Pt 1: So we're going to draw an umbrella today, and I'm gonna go ahead and make it a complete illustration with a little child holding the umbrella. Sort of like this right here where you can't see the face because I don't wanna have to teach you to draw faces today. We're trying to keep these prompts very short. I want this, um, actually flipped, so I'm just gonna drag and drop it and flip it. So if I just save it like that share J peg save image, it's put it back over in my camera roll, and then I can just delete that. So now I have the reference image facing the direction that I would like it to be facing to start your sketch. I like to go ahead and add a few layers and just find a good sketching brush that you like . We're looking at the pole. It looks like it's about at a 45 degree angle. I'm gonna let that snap straight. And then, of course, we just just go ahead and do a simple curve here. It does not have to be photo realistic and look exactly like that. The image here is mostly to look at where the, um the little arms came down off of that, and I actually what, My umbrella To be more like one of those tall umbrellas. Once you get that curve that you like, come down here and take a look at how many of these little curves we have down here when 234 looks like there's two big ones and too little wins. If you're looking at the ends of the umbrella right here, this point is actually further down. So and it also lines up with this poll on this particular photo. So for drying kind of an imaginary line across, I'm gonna kept down a little bit. And then he is, too. Curves are much whiter than these two. So if I have this point this point at this point, that gives me a much whiter curve here and here, then these two small ones on the end, and we can go ahead and erase that pole in the middle, which we won't be able to see. That's so now we just need to get these curved lines that match up from the point here, down to these little spots here this one almost come straight down and some umbrellas have that fun little handle like this. So you're welcome to add whatever handle you like. You could look at all sorts of reference photos on a new layer. I am going to sketch a little girl. Or I should say, a little child doesn't matter if you're above or below. If you can imagine, the head of the child had been here and just a from this neck area. Think about a raincoat, a nice baggy raincoat and just make a triangle. And I'm just coming down to the bottom of the umbrella. So you're actually not going to be using this part of here? I'm going to for now, leave this sketch because we're going to add an arm. So if you think about this being the shoulder area and having a little arm sticking out, maybe she or he's over this way a little bit more. I want to have a bit of a cuff of the sleeve of the raincoat and then just a little elbow, area and arm. And remember, you're just going to see the part that's underneath the exposed under under the umbrella. Not hidden by the umbrella. The hand can be very simple. Just something that's, um, you know, holding onto that umbrella. Maybe the cuff is a little bit more angled. Look at reference photos. If that helps. I'm just putting a very, very simple hand on here, and it'll be even more kind of discreet. Said don't worry about your hand at all for the boots. We actually already drew a boot. So go ahead to your reference photo if you need it and try Teoh. Get a nice rain boots. Go in here. If you want to just duplicate this section for your second boot, you're welcome to grab that. Select it three fingers wiped down, copy and paste. And now you have that on a new layer, and you could move it around if you think about when somebody's walking and think about where the waste would be up in here and the legs coming down from it that way, you're not going to, you know, have them in a funny place. So I'm on the later that just had that Bhutan, it's I'll go back to the layer with the whole person, and I think I want to have that kind of be stoops kind of be stepping out and then emerged the boot later backed down. Let's scroll out and see if we like that. I'm gonna get rid of my photo over here. Zoom out is when I should be saved, not scroll out and give a very slight indication of a knee and then to show the back of the boot curving around the leg. You could do that, too. Now, that leg can be illustrated. However you like. It can be, um you know, some some clothes on that leg or a bare leg under there may be maybe this child just has on some socks and send shorts. I'm just gonna go ahead and erase what we don't need under here and then on the umbrella layer. I'm going to erase the part that's under her hand. And I think I'm ready to merge those two layers. And I, if you think about if she's walking in a puddle, puts a little rings around where her feet are on the ground, her toes on the ground here. All right, so we're going to decrease the opacity on that and start coloring her so I am going to go ahead and shoes, um, or creamy yellow. I'll put that right here and then just a studio pan or monoline brush, and I'm gonna lay down a nice, solid flat color, and it's going to include this leave. It's okay if it goes up under the umbrella, the umbrella will be on a layer above it. And now, on a clipping mask on that, I can add some more details in a bump down the opacity on our sketch and just a nice deep yellow come to my brushes and go to the damp brush. Go a little bit more orange, maybe even toe white. I am going to go to another clipping mask and get my light streaks fresh and go back to that deep orange. It's okay if he's turn out a little bit, uh, darker than he went. You can change the opacity on that brush. The nice part about having this on a different layer is that you can erase. So if I don't want those streaks on the sleeve, I can just go ahead in the race. That clipping mask clear. I'm going to lighten that clipping mask a little bit. Just have some subtle texture showing there and go to a new clipping mask. Since I'm not playing with blend modes for this, I can go ahead and, um, merged these layers later. I'm going back to this main cream color that we put down as a base coat for this brush or for this coat. And I'm just given some lighter highlights on the sleeve. Down here on the base color, we can go ahead and get some shadows. I think I'll go ahead to my hatch marks and I'm on a pretty dark yellow, moreover, into the orange and I want to shadow underneath. That's not showing up so well. I'm going darker, and I'm gonna switch to my wife pencil, stroke, brush and turn the opacity down on that, and I'm just shadowing under the arm. I need to Alfa lock that layer, and then my shadowing will stay where it needs to stay. Do you think there would be a little bit of a shadow in here? And things are things you can come back and play with later as well. I'm going to go ahead and do a little bit of white on this base layer, and we're gonna come back to that and we will add details at the very end as well. But if you have the the the sketch turned off, you can kind of see where the arm is gonna be. So that's good. All right, let's group those layers together. If you need to free up some layers later, you can maybe emerged those maybe emerged. Some of them. All right, so if we go on top, actually, yeah, we go above that group, choose a color. You went for your umbrella. I am going with a nice read. I'm gonna go ahead and go to more of a rosy color. I'll drop that in here, and, um and then I'll be adding red on top. So go to the studio pen, so I can't see. Here we go. Go to a clipping mask above that, and now we're gonna go to a nice, bright red. I think I will go to Qual. This is kind of a fen textured brush. If you can see that, let's try a brighter color. Let's try a doctor color. I'm president pretty firmly, and it gets thesis speckles of texture on their I really like that. I'm gonna go back down, actually an Alfa lock, that main color here. And then I can go ahead and do some highlights and some shadowing just directly on that. So I'll go to Laura Poona. I can't quite see my sketch, so I'm gonna turn the opacity upon that so I can see those lines. What you want to do is darken on one side of the line on each area. So if you can see this line right here and in the dark in the red, I might need to go even darker. Well, that's not looking so great with my color on top. So let's try a different idea. Let's go with another clipping mask on top and see my airbrush will do for us and let's see what airbrush does down here. Seven. If you can see what's happening here are our choice. For um, that texturally layer is is just making it a little bit more difficult to find a good way to get our lines shaded. Maybe if this is on, multiply on a very deep red. So I'm liking that. I think I can go a little bit less dark now. All right, So I am on a clipping mask that's set to multiply above these two red layers. So I'm gonna throw Sam really faded airbrush on here, and then I'm going to do some erasing of that just to get a sharp line there. So I tapped and held the eraser, so I'm on airbrush furry racer to, but I'm going to a smaller size and I wanted the race right along our line. That is kind of the poll under the umbrella. And then I might go ahead and turn the opacity down on that as well. So if you take your sketch lier off, I think it's kind of nice. You can You can see some shadows and highlights and we'll be adding some final details later that will define those areas more 8. Umbrella Pt 2: so I needed to break this down into two videos because I have limitations on how long the videos can be and you're welcome to, of course, watch them all in one day or split it into two days. Our eight, we need our poll. And of course, we need to finish this little girl down here. Let's go ahead and go underneath and gonna add some layers. Okay, that's go ahead and group the umbrella. And we can finish that pole to I bounce around a little bit. So the legs air needing to be under their raincoat. So I came to a layer under the raincoat, and I think I will have this little person wearing a light color. So it to the studio pen. I went past the boot line and I'm making sure completing the shape so I could drag and drop for the legs. I think I might just Elva lock Look at me. Grunge, streaky brush. So just have fun doing whatever. You went for the pants and then maybe one clipping mask above it set to multiply, go to a nice start, gray airbrush on a fairly small size and just gets, um shading underneath that raincoat. Maybe the back of the knee would be shaded on each side as well. All right, we're gonna call that good group those together. I want a layer above the rain above the pants for the rain boots. I'm going back to my studio pen. I'm gonna choose a nice dusty blue for the rain boots. You can see your sketch layer. There's a little section that's gonna go behind the leg right there. But because our boot layer is on top of that pant layer, you just need to kind of add that in right there. That's what I'm talking about right there. So on a clipping mask above it, I'm going to add the black and then on a clipping mask under that black, I'll add the texture for that boot itself so you can go back to the color you had and bring it up into the lighter blues and find a good texture brush. Let's try and claim sel and get some highlights on. And why did that? Under the black layers Now are highlights are not going to affect the black layer. We're just wanting to kind of give the boot itself the blue part itself. Some highlights and shadows go back to the original blue and go down in color. Just get some texture on their I think just the toe might have some light hitting it. The light might be coming back here to group those boot layers together. You can spend some more time but doing some more details on the black areas. But we're not doing a super realistic picture here, so we're leaving that alone. And the reason why I used the, um what's it called Studio Pen and dropped in layers of color before just adding texture is because now I can change the background color to whatever I want and that, um, isn't affecting the illustration at all. So I'm going to go to a nice blue, and I might need to change the color of the boots. Depending on what I decide for the background, who maybe will go with an ace, a great blue that's a little bit lighter, so the boots still stand out. If you need to change the color of the boots, you can. You could actually just go to that boot layer itself. Um, that based color and do hue, saturation, brightness and play around with the slider here right now, I think I would merge the two layers before doing that so that it changes both of them so you can become a little more green. Purple? I think I am going to make them a little more green. So I don't have to worry so much about my water areas. Kind of hiding the boots. Well, maybe I'll make him pink. Try not to be clash too much with that red umbrella said nicer raspberry color. It looks really great with the green and the yellow. We could also change the color of their umbrella if we went OK, so I'm going down here to the very bottom and I'm gonna pick a nice texture. Brash, Let's go ahead and do qual and see what that does. I'm on a deep blue and we're just gonna get some colors down I can do my bold streaks and went to a lighter blue Before I do my bold streaks I want to draw my little rings of water here so I'm going to go to a layer on top in case I need to make changes and just think about how water ripples and just get some little ripples down there. If they're on their own layer, then you can do lots of other things to the layers around. I am any race around there that might be a little too streaky. So I'm gonna go on top of that. And let's go back to that Kwale and just kind of hide some of those streaks a little bit. If we can get somewhere. Dimension in there by having some dark spots makes the streets a little less noticeable. I'm going back to my streaky layer and go, go to Tamar and erase some of the streaks around my rings of water ripples because it we wouldn't have lines of water going through the ripples. So just need toe lightened that up in that area, and it might be a good time to lighten up other areas where this week's air a little heavy . So this part, you could just play and play and play, come back down to that very bottom layer and maybe get in a stark green teal color. I'll drop that in right here. That's quite green. I meant that to be a little bit more, teal, but let's see what green does. So we're on Quale still, So that's a fun look for certain. Just little highlighted areas. I would probably go down even darker in a little more blue. It's a good area toe Just play around with texture behind all of that. You can do a nice You have this gray here, so maybe get a like a light grey blue It's Duplin saw all the way up and now a nice dark. Okay, so you play around with that some more. We need to finish up the rest of the hand here and the coat and the pole. So I'm gonna leave that where it iss and that hand is going to need to be under this group . All that together they hand us gonna need to be under the raincoat. So here's the raincoat layer just adding a layer under there and just pick whatever can live. Hand calorie went. It could be a gloved hand or a bare hand. And I'm just going Teoh, make a little bit of a cartoon hand here, and then I'm going to turn that sketch layer off so we can see it better Alfa Lockett and just come down to a darker color of that same shade. And they don't actually go to Prince all on a small when they just can't. It's, um, shadows in there. That's all you need to dio turn your sketch Lear back on and let's get that umbrella pole. So that umbrella pole is gonna be tricky because it needs to be under the hand. But over the raincoat and under the rain umbrella. So if we're under the rain umbrella and where over the Rinko were still over the hand. So this is where you could just play around, go ahead and just pick a layer to do your poll. I'm gonna go ahead and just go with I'm to go with a pretty dark color and I mean cheese, my monoline, because I want my pull to be a consistent with and I'm going to do a snap line. I think I want it thicker. Okay, so now we need to decide how we're gonna get that hand on top. Well, I'm going to just simply select the hand. If I know that poll is staying there, I'm going to go to the pole and tap clear. And if he turned a sketch layer off, all that did was erase the pole where that hand is. You should do that only if you know you're not moving anything around. If I go in and try to erase, then change the shape of this hand that's gonna miss up the pole. And, you know, you have to just do a little bit more editing if you were to do that. So I'm on the pole layer, and I think I will just go ahead and make a little bit of, ah, handle kind of like a candy cane. And, you know, if you want to go ahead and play around with clipping masks and highlights on that pole, feel free to do that. Obviously, um, if if I were to do something, I would probably just put a little bit of a highlight here And here, maybe around the lip of that, and then a little bit of a highlight here up the pole with a gray, and then I would blur it. Something like that. So But we don't need to spend too much time on that. I'm liking the arm here. Um I was gonna come back and add some more details to that. And of course, you can add some rain on a very upper layer here and maybe get a dark blue. I'd probably get a nice tapered. Let's see. If so, there's a lot of ways you can just add some rain drops. If I did this, which I have done before, um, I would spend a bunch of time on that, and I would make some of them come down onto the umbrella, and I would leave this whole area under the umbrella, not showing any rain drops So that, um So it was clear that the rain was just outside of her little space under the umbrella. I'm not going to spend time doing that, but that kind of gives you a general idea. And I know we already did some types of rain in a different way with a watercolor Look, I probably wouldn't use that look on this side. Would use more of a, um, bold look, but I am not going to do that for today. I mean, he is a top player to add some final details, so I'm gonna choose this Red and go a little darker and I'm gonna get my no taper six b and just add some. I'm going to go to this yellow go a little darker, maybe a little more orange. Think that might be a little too thick so you can add some details like maybe a pocket. It might be a good time to add some flowers onto the boots. I like this boots plane, though, and play around with blend modes. I actually don't like how dark the the outlines are looking. So just gonna turn that opacity down. I could even put on multiply, and I don't think that really made much of a difference. I'm just gonna leave it like that. I am happy with this illustration and I can't wait to see what you guys do. 9. Bonus: Realistic Rainbow: today, we're going to have a bit of a more realistic like and I'm gonna show you how to do this rainbow. And then how to quickly do the rest of this illustration. Once again, I am in a 10 inch campus and, um, I have I have all the rainbow colors here. You're welcome to choose whatever colors you think will be good for the rainbow. And I like to use this plum sell. It really doesn't matter too much because you're really going to be blurring this, So just pick something that you could make a nice laying with. So I am at about 6%. I'm going to Alfa lock this and duplicated. Take the bottom one and just slide it down. Now it's gonna be hard to see because it's the same color. So if you want to go ahead and make it your orange, choose your orange and tap Phil layer because it's already ALF Elect. If you're on free form, you can adjust this so that it's sort of lines up with the red. If you look closely, there's a small gap, but it really doesn't matter because we'll be blurring it. Duplicate that again. Let's go to that bottom one and choose a yellow. So I had it down and then skidded to sort of snug snugly fit right up in there. Go to that bottom layer. Choose your green. I'm gonna go with this brighter dream. Fill the layer, select. Slide it down when I'm slightly And I'm kind of looking at the edges and seen, um that the edges air lining up a little so I could just worry about the middle duplicate. Go to that lower layer. Let's see Red, orange, yellow, green, blue, Phil. And when last time they choose this darker purple you're welcome, Teoh. Try to be super realistic with this and get all the exact shades of the rainbow that you need. So before I emerged all these layers, I do want to have a skinnier rainbow. So I'm just gonna move him a little bit up into each other's space a little bit. So now emerge them lips and just kind of stretch it out a little bit. Get rid of those weight edges. If you really want to have to unlock that, if you really want to play around with the shape if you go to liquefy and go to that push tool. Um, and go Teoh the big setting on there. You can move it around a little bit more. All right, now I'm going to blur it. So that's it. About 8%. And that's why I wasn't worried about the little white gaps. I can see a tiny way gap there. We still don't need to worry about these tiny gaps. You're welcome to blur that even more. And then you could turn the opacity down. Let's just turn it down to about 70 for now, and we're gonna turn that off. So I'm on the second layer from the bottom and I'm choosing Tamar, and you can go straight down to black or something that's really close to Black. I am on about 28% and I'm just gonna put a little hilly seen down here Super simple. We can go to our background color and let's go ahead and choose this medium blue right here . And the reason why we went went up from the bottom is I want to draw some more blues that end up being behind this land down here. So we're gonna go to this really bright turquoise, and it really doesn't matter what brushy use. In fact, we can even stay on Tamar and just get some light teal here in the middle. I like to turn it a little bit because I can see the repeat pattern in the brush, so I just get rid of that. All right, we'll be coming back to that and blurring that some more. Now I'm going to layer above the land and we're going to choose our rainforest. If you don't tap really firmly on the glass, you will get a very nice cloud. Formacion. If you look really closely, it's actually a little leafy tops on this brush, so I'm going to put it at about 25% and I have a gray. I'll go with this grade that's in the palate. So I wanted to show you the reference photo a museum and show you how dark the clouds can get. There's some really white ones back there. The land is very dark down here. The sky is dark underneath the clouds, and then it's brighter above the clouds, and there's some very white clouds and some dark blue clouds. And then gray at all that So that's kind of the look we're going for. We're gonna do the gray behind, so I'm doing some great clouds, and I really just don't think too hard about this. Just kind of tap some gray on their goto a layer above it and get to a white. I'm going to go to a layer underneath that gray and that white to get these white ones that airway in the back and I'm tapping harder. So it's nice and bright white. Go back to the white later. That's in the front here, and I also want to do a blue layer. So I am actually going to this sort of gray blue and the layer and going to is behind this top white layer behind this layer. So add a layer between that gray layer and the weight lier and just get some grey blue. Now, if you notice all the clouds air really dark along the whole bottom and we're also going to erase some of these that came down. So I'm gonna get pretty dark color, and I'm going to go away to this top cloud layer. Oops, come down in size and then just start adding some real darkness down here. And let's see race with the same brush. So tap and hold and get some of these erased it. Sure, you're on the layer that has that cloud. I think this gray layer has some of that and just play around, get in some dark. So I need to get above all my layers here cause I wasn't getting any darkness on that white cloud right there. Some of that darkness comes up. Okay, let's walk away from that for a little bit. We could merge those and do some worry racing. And if you're not happy with this area down here, but we are going back down to that layer that has the turquoise, and we're gonna dark in that sky back there. So let's go to this bright blue and then just bring it down towards black, basically navy blue, and I'm just going to the airbrush. So go to airbrushing. Go too soft brush, Turn the opacity up. Just get some dark skies under here. And then let's dark in this part of here, we can just smear around and smudge this teal tap and hold times tap and hold that. So we now have the airbrush. That's why it didn't really matter what brush we used for that the bright center here got that peeking through. And I still think we need to be darker down here. All right, let's turn our rainbow on and take a look at the location in the opacity. Select that. I think I'm going to make my whole rainbow smaller. And then I am going to keep this airbrush on this much tool on a pretty big size, and I'm just gonna pull these colors out Now I need toe watch this edge. I don't want this edge to be here, some kind of pulling. I'm tapping very lightly and I am going to blend just to keep the consistency of that smidge. That was a little bit too long of a pool because it's pulling from way over here. So I just want to pull on the end here. And as I step back and look at this, I can see that I kind of have a Pete there. So I'm gonna go ahead and play around with the shape a little bit more until I'm happy with that shape and now my rainbow fades into the clouds. Remember, the opacity was down on it, so if you want it to be brighter, it could be brighter as well. Um, don't place the rainbow too high, because remember, rain bows happened. They actually happen down low. So, um, Remo's happened where sun and rain are combined. So the sun has to be shining through some rain squalls. So in this case, it could be that there was enough moisture in the clouds. I'm not sure if this is even a real rainbow, for it was illustrated, and the rest looks like a photo. So sometimes Rameau's happened in the clouds because of the moisture that's in the clouds. And, you know, we're just using your imagination. If you want a nice rain squall looking thing down here, you can come back down to that layer. And if you've ever seen a rain squall in the distance, they, um, they just kind of have a dark area that's not even dark enough. Go all the way black. They have a dark area that just comes down in certain spots, and that's where it's really showering. Go ahead and get rid of this. So if you want to get some of the orange color on the clouds, um, one of the things you can dio is go ahead and combine the cloud layers and then at a clipping mask up of it and you're already on your soft airbrush and carefully add some some color, some orange and some yellow can look at a photo and kind of see where to add that color and then play around with the blend mode who that really brightens it up. That's on the ad, and if it's too bright, you can change the opacity. So I might, though, brighten up some other spots and keep this all really dark down here. Now that we have all of our cloud layers all combined, you can try to erase a little bit more that's sticking down here on the bottom of those clouds, and you can also go ahead and add some more of the dark clouds. Maybe as a clipping mask, they go 10. Week 2: Birdhouse: today we're going to make a birdhouse and tomorrow will add some birds and some flowers all around it. So we'll have a complete illustration. I searched online for the look of the birdhouse that I'd like to do, and it is kind of at an angle. So this isn't straight across right here. It's a little bit angled this way, and this side, while over here comes down and then this angle, the bottom of the wall angles that way. So this is an important angle, and this is an important angle because this will translate into other places. So, for example, this same angle will be right here, and it will also be under here where the peace comes. You can see the underside of the roof there, and it will also be up here. And now we have this angled line that we used to hear here in here is also here. - The other part that we need to get in is this little cut edge inside the hole. So that is just to show the thickness of the wood there. So make your birdhouse how you want your birdhouse toe. Look, I'm noticing that I didn't make any accommodations for this little platform in the front here. So what I'm gonna do is fix the platform itself. Zoom out and take a look. Make sure you like how it's looking. This is going to be a very shadowed area under here. I like it. So let's turn the opacity way down. So I'm going for a little bit of beachy, a beachy colored birdhouse instead of this nicely stained when the browns I put in the palate are a little bit more washed out. Brown's. I'm just choosing this medium brown right now. It can use anything you want. You can even make a painted birdhouse and make it nice and colorful. I'm going to use this wide pencil because I really like the texture along the edge and putting it at about 50%. Make sure you're not on your sketch layer, which I almost was, and I'm just gonna fill in the whole entire roof. And I do want this texture. I don't want to fill in all the fat, but I am going to go ahead and fill in even these cut edges all on one layer. All right, I am going to color the walls on a layer underneath those. I am going to have to do some erasing. Since this layer is going to be under this, this will show. But I think that's the plan for now. Gonna change colors just a tiny bit so I can see a difference. I'm turning the opacity down a little bit more because I want to be able to make my own edges. I don't want to rely on the edges that I'm seeing on this, but I still want to see where what I'm doing. Let's go to a layer on top of the wall and will just work on this hole a little bit. So I'm not going to go all the way Black. Let's go to this dark brown right here. And just to save on layers, I'm going to Alfa. Lock that and then I'm gonna go to this lighter brown right here and get my little cut edge of the wood inside. That hole might not quite be light enough, but that's something we can change later. Or you can go ahead and lighten your brown a little bit. Turn the sketch off and see what we've got there, So that's good. Now I'm going for clipping masks. And the reason why I'm not going to do the whole thing, just like we did with this l flock is because if I want to change anything, like, maybe I wouldn't come back and make this a nice clean edge instead of a rough edge. If I have a clipping mask, I can change this base layer. And the clipping mask will automatically change. If I am directly doing everything to these layers than when I erase, the whole thing is getting erased. So it's just something I'm used to doing. So clipping mask on top of the roof and the platform underneath. And I'm gonna go to Let's start with this dark, dark, dark brown. I'm going to this spring class brushes. Actually, I'm gonna go to my damp brush. I'm gonna go ahead and get rid of that for now. I'm gonna go really high on the size. I'm at 25% in which I guess, because much bigger, that looks pretty big to me. And I'm on a clipping mask and I'm just giving a nice ruff. Look, I want it to be streaky because it gives that look of those grains of the wood and under here going to a smaller section. And remember, this bottom section under here is really shadowed. So I am going to dark in that quite a bit. I'm gonna go to an eraser. Let's go to the six b, no taper wide and let me turn that, um, sketch back on so you can see I want to eat race. Just this cut edge of the wood down here and over here so that I can make those lighter. All right, we're on that same clipping mask. I'm going to a new clipping mask for the light. In case I need to do any racing. I don't want accidentally erase what we just did with that dark. Let's bring that. So I went to this lighter brown, and I'm just bringing it up towards a white a little bit. I'm still on my damp brush. I'm down to 10% now because we just have this little edge here. It is kind of blood. We don't. This is a cut edge. It's not going to be streaky with greens, this site iss and then down here. We forgot to do our dark, but I'm gonna do light on this cut edge light on this cut edge and also kind of blobby. And then let's go back to our dark layer in our dark color and get some. I'm going to keep going this direction for the wood grain look and I overlapped my light areas a little bit, but I think it's gonna be OK. So for now, I'm gonna leave that alone. I'm gonna go to this wall, go to a layer above it, clipping mask. My house is creaking because there's wind outside. Today we're havinsome stormy weather. My kids school was delayed two hours due to flooding fell. Okay, so I'm on my Jen's damp, brash, and I'm just gonna do some shadowing under here as well. If you think about the overhang of the roof, it's gonna be darker right under that roof line. And this may be this wall over here is doctor than the front. Go to another clipping mask and we'll go to a lighter color again. This one right here. If you this brush, if you kind of tap it and then streak it, it gives a little bit more color. I like the look that it gives with, uh, this would kind of, um, driftwood beachy washed out, and I was trying to not make this super dark in general because it's a spring design. I want to get some more color on that tiny bit. I am going to go on a clipping mask in case I need to erase, and I'll bring that back down him on the light color, which might not show up. Yeah, it's not gonna show up, so let's try a dark color. See if we could just get a little bit of a grainy look in there. It's gonna be darker on top. You can look at the reference photo and see where the lights and darks are. I'm going to go underneath all those layers and let's get our poll here done. So for this, I think I'm just gonna do this wide six b with color in my on. Mm. Going to go with the dark brown will lighten it up. So that just gave a nice cleaner edge. Still has a texture, but not quite as much texture as that. And if you think of this as an old tree branch. That's a pole. And it's not gonna be perfectly parallel. That's good. Could be mask on top of that. And you could do a lot of things here. You could actually go find the, um the brush that's in a native procreate. Brash, that is mountain ash in the organic section and go to a lighter color. The green on mountain ashes is up and down like a tree, so you could simply just add some bark look like bad. And I feel like this is off, so I'm gonna move website, need to select the dark layer we drew. Plus that could be mask. Then I can select both of them and just slide it over. Let's turn our layer off there. Okay, So I feel like that's a nice, um, start. So I'm going to spend some time erasing and I'm defining these corners just a little bit more. So if I go to this base layer of color that we did the roof and the platform on, I can fill this gap here and you can't quite see it. But there is an overlap abs, um, that I can erase right there, so I'm gonna just go back to the brush we work on, which was my wide pencil and we were on this middle brown, I believe tap and hold the eraser to have that same brush selective for an eraser. Remember, I'm going for a beachy, rustic look. You're going to want to be much more precise if you're going for a different look. Um, with their this him really adorable birdhouses out there. So just draw what you see, and I know that's easy to say sometimes and not so easy to do. All right, I'm happy with that as a base. I'm going to go ahead and add another clipping mask on top of each section. So I'm starting with the roof and the platform, and I'm just gonna get, um, a brush that's a little bit more defining. Gonna go into inking and choose Tinderbox. And I'm going to this middle brown. But I'm gonna go darker but not quite as dark as this one. Um, at about 12%. And I just want to add some darker streaks. Those aren't dark enough. So I'm gonna go ahead and go all the way down to that dark, and I'm turning this up to 20% and impressive. Really lightly. I'm not doing anything all the way from the top to the bottom for the front and sides. I have all these clipping mess. I'm going on top of all of those making another clipping mask. 11. Loose Flower Designs on Birdhouse: Let's go ahead and group all of the birdhouse layers together. If you're running out of layers, you can duplicate this whole file by going out to the gallery, swiping to the left on this image and tap duplicate. Then go into that new file and flatten your image is flatten your layers so that all of your birdhouse is on one layer. Then it's. Since it's a duplicated file, you'll have the original file. If you decide you want to make changes to your birdhouse, you can go back and do that, and you'll free up a whole bunch of layers for making your flowers. I'm going to see how this goes without flattening my layers. I could also maybe flatten some of my clipping masks, but we'll just see how it goes. I'm gonna choose this green right here and later. I'm going to have a bird probably up here and down here, peaking its head in there. So I'm thinking about that when I'm deciding where I want all my flowers to go, I'm gonna go back up to my brushes and just choose this wide. No Taper. It's a good stem lips when you add a few layers here, and I'm just gonna sketch in where I want some stems and maybe these air to white of stems . I want some that are the flower might come up here, one that's gonna come over here and we're just going to do a few flowers right now for the tutorial, and then you can add as many flowers as you want. I would do some blurred flowers in the background as well. And the other thing I'm gonna do with the same layer as this stem is just put the little Oh , what's this called? It's kind of it's kind of where the berry would form if you had a rose. This would be the rose hip on a layer under. That is where I'm gonna add my turtles, gonna show you a new way to do some loose florals without drawing them first, which we did in the spring sign that said Spring. Our first tutorial. You're going to choose your ribbon tool, make sure it's on free hand and quickly add some pedals If you keep tapping the little circle, I'm going to redo that so you can see if you tap the little circle each time, you can add some more. If you don't tap the circle each time, you can still tap adhere. So if I didn't complete that, I can still go add. It completes that shape on its own ad, so I don't want my pedal to go down beyond this little cup because the pedals air coming up and out of that cup. Once I have the pedals the way I like them, I'm going to leave this just like this, and I'm going to start playing with some pinks and mike. I need to change the name of this. I use the cloud brush, and I made some changes to it. I'm gonna go ahead and change the name of it to gen clouds, and it's very, very faded. But it's on set on Multiply, which means, as you layer it, it will get darker and darker so you can see that as a keep layering. It just gets darker and darker is with the selection on. You can just keep that selection on and keep adding different layers and going to different textures, maybe different colors, maybe a tiny bit darker and do my Grinch streaks. I think I'm not gonna do streaks on this wind. I'm going to go down to the charcoal section and get the six. Be compressed. Go to about 20%. Just get a little bit of nice texture on their. I am going to add a layer under that and go to a bit more of a orange color. That's a lot more, more like a peachy color and back to my clouds and just play around an UN select when you're ready. Now, those three layers are all going to be grouped together, and you're going to went to add another section similar to that right underneath that. So I went to a new layer under all of those ribbon tool and I want more pedals back here, maybe one that's peeking out over there a little bit. I'm on that Clouds multiply layer. Okay, I'm gonna go darker with that because those pedals that are in the backward going to have a darker look to them because they're shadowed. Then come back to the pink layer, go on a new layer and just cannot get some pink up here going another new layer. Find that charcoal brash, a dark or color. Hysterical brush might be a little bit too much texture in my opinion, but this is all stuff you can play around with and get a look that you like. I'm thinking that that is a little too dark for me, So I'm gonna brighten up my colors I'm gonna go ahead and take a chance and and flatten these And I think I'm gonna flatten the other pedals to now I have one set toe work with for each and I can change the hue, saturation, brightness Oh, came on that front set of pedals Gonna go brighter And then I went down on color down on the hue and just made it a little bit more of a different shade of pink That way, Let's see if I can get a nice matching color with the hue, saturation and brightness on B other wind. Well, I like that a lot. If you play around with the hue, saturation and brightness and you don't like it and you want it back to where it was, you can tap anywhere on the screen and tap Reset. All right, Now, I'm gonna add a clipping mask on top of this front later here and just get some streaks on there. I think I'm going to just use my light streaks brush. Actually, I'm gonna use my bowl, the streets brush, and I'm gonna go ahead and select a color here. Just pull it down a little bit darker. So they're actually I'm gonna go lighter. Let's see what that looks like. Nope. I don't like that. How about all the way white? Nope. I don't like that either. So play around. This is the fun part. Well, it's all fun, I guess. And once you're super happy with your flower, you could simply group them together, duplicate. Take that duplicate and flatten it and maybe flip it playroom with the size of it a little bit. Change it up. So it doesn't look super identical to that. And hide those pedals. Let me show you a little closer. I need to hide all those pedals on the tips behind this. Oh, I like that. Look. You can see the house through those paper thin pedals there. This is a made up flower. I didn't base this on a real life flower, which means I get to make up what I want to do for the leads. I'm gonna go back to that green and I'm gonna go to my six b No, Taper. It's a little bit smaller than the white one. And let's see, we're on a layer above the stem layer. - So I have all of the leaves done. I'm actually going to go ahead and merge the leaves in the stem layers and at a clipping mask some on that green. I want some highlights, and I wouldn't really light and a little bit more yellow. But I don't use this brush because it's quite solid. I think I'm gonna go to my wide pencil, which is more kind of chalky, and I'm gonna add some highlights on went side of these and that same side of the stem and then the top edge of a leaf. And then I'm gonna go back to that original green and go a little bit darker and a little bit more towards the blue, just a little bit on. That helps us with a little bit of shadowing. So that's all for our tutorial today. I am going to continue adding more and more flowers that are just really simple and loose, and maybe some yellows and any other spring colors that might look good. If you think you might want a nice sky blue background, you might want to go ahead and add the blue. Now, while you're doing your colors because, um, some of these are going to be really transparent. And you'll want to make sure you know what that's gonna look like when you're all done. The background wins. You can just do some really blurred blobs, basically. So just go ahead and group all of these together, hopefully have enough space to duplicate that whole group and then flatten it. So I am going to turn our original layer off, select that flattened group and do the ribbon tool around the two that are over here just so I can kind of make him, you know, look like they're in a different place. They, of course, need to be the low behind everything. Oh, guess what I just did. I didn't make them on a different layer. Okay, swipe, cut and paste. Now they're on a different layer and I can move them over here, move them down, maybe move him up, and then I have this other set over here. I could rotate them. I need to move them both under the birdhouse layer. I can go ahead and combine them again and then set those to the Goshen blur. Well, let's turn our originals back on. Yeah, like that. A lot better. I might even lower that. So you can do a whole bunch of duplicating and blurring and adding to the background to fill in all of those spaces. And of course, adding more colors would also be beautiful. And it's gonna look so nice with some brightly colored birds on there, too. Okay, see you tomorrow. 12. Goldfinches on Birdhouse: All right, everyone, it's time to sketch some birds again. If you are low on layers you can duplicate and, um, duplicate the whole file and flatten your flower layers. Flatten your almost said cabin, flatten your birdhouse layer and then you'll have all sorts of layers freed up for your birds. I'm gonna go to the top layer, and I'm just gonna start sketching this bird. So if you I need a refresher on kind of how I talk through sketching from a reference photo One of the first videos last week was sketching that Robin, and that will help you. Uhm, I'm going to fast forward this so that we have time to do this whole illustration. So this mail goldfinch is gonna go right on top of the birdhouse. All right, so there's the mail and it's gonna go to a new layer for the female just because, - I mean, they move her upside, her feet can be on this ledge and again with the simple feat when collage, that kind of comes back and then a little nail, we're not gonna end up seeing from this angle. We're We're going to see the whole toe anyways so and we don't even need to worry about the other foot, so that's excellent. There we go. So let's turn her off and let's start getting some color on this guy Appear. I'm going to turn the opacity down, and I'm gonna go to a different layer. If you want to go ahead and lock that so you don't accidentally right on it. That would be good. All right. I've got a yellow right here. Just kind of a nice, creamy yellow, If you remember, the Rob and I ended up filling the entire robin in with Gray, and then I came back and did some clipping masks on it. So this guy, I'm gonna do Cem yellow everywhere just to make it simple. I'm gonna go ahead and use the model a brush on a really size small size, and just get a nice outline. I'll do his legs later. Turn the opacity down on that upside, locked it, unlock. All right. So turn a clipping mask on above that, and I think I'm just gonna start coloring with my six b No taper. I'm gonna at this super dark gray right here for you. It's really hard to see. So I thought there was when they're actually just a second ago And at that blackhead let's go to a whiter when and get those black wings and tail, I'm going to go to a layer on top of our black turning into a clipping mask and I'm gonna get this really light gray Go to my wide pencil about 20%. I was gonna get some of the white markings that he has here. I'm going to a layer under the black layer which will automatically become a clipping mask . And I'm going to my Grinch streaks and I'm just gonna There's no white on the tail, so I'm kind of covering that yellow that's under that black, getting it white. And I've given him kind of a scruffy Tell me here and underneath the wings highlighting some of that curve of B wing there. Don't just give away a few little highlights here. I'm going to go down to the body of the bird and Alfa Luck. Actually, before Alfa Lock, I want to change the shape of the head a little bit. So go to that yellow and I'm just gonna go to the model a brush. His head is a little bit bigger than this. So the beauty of this being a clipping mask is that any black that we had, um, over the edge of that previous shape is now still going to show up. And we do need to go ahead and add some more black there. Go ahead and go all the way to black. Go to the wide it's XP. Just get some black up there. All right? Now I'm going to go down to this yellow. I'm gonna turn the sketch lier off an Alfa, lock this yellow and go to that yellow, but then drag it way over here to this super bright. Maybe even bump it a little orange er than that. And I'm gonna go to my damp brush and just have fun getting some of these deeper yellows. Hopefully, you can see how texture that is. There looks like it's deeper right here by the wing, back on the neck. And then under here, you can kind of mix up and do a few colors. A few different shades of yellow, if you want. All right, I'm gonna go on top of all of that not a clipping mask, and I'm gonna get an orange. I'm gonna go to this orange right here and then just kind of bring it over and kind of looking at this very muted but darker orange. Go to monoline on a small size. It's Turner a sketch back on. And if you look at that beak, it's got a bit of a curve down right here. Then it comes at and then it also comes back here into this yellow area a little bit, and we can go ahead and put a nice black eye on this state player, the mom Elaine Brush. And then let's Alfa lock bat, turn the sketch layer off so we can really see what we're doing. I will probably fade this edge of the beak into the feathers a little bit later, but for now, let's just stay on this and go to the light gray that we used earlier go to my sixth B pretty small size. If you look at the glimmer of the I, it's a little bit of a curve here, with a brighter spot here on one side in it than it a little bit less bright over there. And then there's some, um, lighter areas around it, which you can mess with their just leave alone. It's plenty fine just like that for the big. If we go to that orange and then kind of bring it down towards the black, we can get some of this dark color here, go back to this orange and come down towards a deeper orange, maybe a little bit redder. And finally, let's go back to that orange and a little bit more towards a yellow and get that little yellow streak here and finally up towards white, but not quite all the way toe white. We'll get some highlights. If this much texture isn't your style, you can easily blend and kind of get more of a chalky look. Pastel look. So for now, I'm Don't leave that like that and let's back out and look at that. I am gonna blend this edge. It's on l flock. So let's take the Alfa lock off in this Canada. It's much the edge there, a little bit on a layer underneath all of those. Let's go. Let's go to one of these orange beak colors and just bring it down to the middle. Kind of a nice bird leg color. I'm gonna go to my six b, No taper, but my sketch back on so I can see what we wanted to do here and then just kind of have a little bit of an indication that there's a toe going back behind that roof line and a couple of toes in the front. We're just doing a loose illustration here, So this paper is not something to fret about. I don't know anybody who likes to drop bird feet. Okay, let's turn the sketch off and see what we're doing here. I think it looks great like this. I might play around with it some more later, but for now I think that's done. And now let's move on to the other birds. So I'm getting delete sketch for that and group together all of the male bird and start on some new layers. Let's turn the opacity down on that, and I am going to do all the same techniques I did here. I'm going to start with this brown instead of yellow, and then I'm going to do the same things I did, um, for this female bird. So I'm just going to fast forward through all of that. And, um, then her video will be too long. So the brown is right here. That's the color I'm gonna just start with. So I'm happy with both birds now, but I went out a little bit of shadow on the birdhouse here. So I am going to a layer under the birds going to multiply and going to airbrush soft airbrush and I'm on a brown. So the multiply is disc in a darkened things under here a little bit and being super imprecise about stuff, but she would definitely be casting a shadow back here. 13. Bonus: More Loose Flowers: I went to pick Sabei and unspool ash and searched spring wildflowers. And I found some really fun flowers that I thought might be good for the, um, birdhouse illustration. And I just saved a whole bench. And then I came into a new canvas and started sketching Really rest sketches of some of them. That one might be that one. I can't quite tell. Um, yeah, maybe. And then it's also good to just get on a look about what the buds look like and what it looks like under knees and get some different angles on some flowers. So I did this sketch. I did this Cosmo sketch, which is right here. I really like these becoming a lot of colors as well. And I did a few, um, one of these purple guys right here. This is actually their cherry blossom or an apple blossom. Let's see, where did that go? Here. But I decided against that. This one is when it these guys. And then I did this very rough for this flower right here, and I did the puppies, so I took one of the beds. One of the seed pods skies right here and then some of the beds hang over, even see, I'm a lot of times when you see Poppy's, you'll see him hanging over like that. And then I did one of the flowers and the good at that flower right there. But I don't think that this red will go with our illustrations. So I just did those in. I just drew these in some orange like those California puppies. So I wanted to show you really quick how I just did a loose drawing of, um, actually, I had a white background, looked a little bit better with the white backgrounds. I might try to put White behind behind those. So what I did was I used that six be wide, just like I did on the other illustration with the flower stems. And I actually put all of this green all on went layer so you can see that right here. And I Alfa locked it and I had a fun time. I think I went to, um, Kwale and does kind of blabbed on a darker green Here. There, you can see it's a very rough, So I got a couple of shades of green on there and still all on the same layer. I went to a lighter green and just sketched in really, really roughly send some of those features that there for the pedals I started with this one pedal that you can see in front really easily. And I used the same method with the ribbon tool and used the lasso and did that I didn't fill. I just went to the jacket brush. So I'll show you an example right here. I just did it, ref from my sketch, not just from it from heart, um, not by heart and went to jagged brush on a pretty good size. And I just started adding some yellows and some oranges. Now, this is a fairly translucent brush, So you are going to get some of the background color showing through when you do this, which is kind of fun, but also sometimes might not be desirable. If you're worried about getting a background color showing through, then what you need to do is go under that layer, go to white while you still have the selection on, um, fill a different layer with white. So what we've just done there. I've got these on the same layer, these two oranges. But that's OK. What we've just done there is we added a solid white behind that pedal. That is a kind of a nice feature to because then when we do other pedals, they aren't going to. You don't get to see where they overlap. Sometimes that's a look that you want. Um, let me show you the difference here so I can go really dark with my background color. And that stays exactly how I wanted it. This is getting darker. So that's I still like that look, So it just all depends on what you want. And here it is without the white, you have the option of changing it. Once you de select that selection that you had with the lasso tool, it's gonna be too late to do this. So you may wanna just at it, delete it later if you don't want it. All right, So let's go back up. We'll show you what I did. I'm gonna go ahead and delete that and get rid of that. So have that main pedal. I added this other pedal over here. If you look at my sketch, you can see, I'm kind of roughly following my sketch. He added a pedal up here, pedal over here and a pedal over here. I did end up seeing overlaps a lot on this, So I went through and did a little bit of your racing until I was happy. So that was that one. And then I also did the cosmos a cosmos. I went ahead and went on a blue background because I think my bird birdhouse illustration will have a darker background. And I did this deed sacked Same way. This is the jagged brush. And it's so lovely for this particular flower because if you look at this flower, you'll see how it really looks exactly like the actual flower petals. They're so delicate and paper thin that it really just easily gives that look even though you're just doing a loose design. So to give you an example on this land did six eggs, eggs, IQ and then came down, go to the jagged brush on white. Some areas I did, um, darker, more solid, I guess not darker white, but more more of a solid color than others. So you can't see the blue as much through it. So that is how I did these flowers. And I only have them on. I have the pedals. I basically just didn't have any two pedals that air touching on the same layer. So I have those three pedals on a layer. You can see where I did somebody racing those pedals on a layers because they're all separate, which means my brush isn't going to bump into other pedals when I'm doing my swiping. And then just those I have them all going under this yellow center. Um, and then for the yellow center. I really just did a very rough yellow center. And then I did these brown dots on that same layer, and then I took a golden color on a clipping mask and just added some more depth. There really, really quickly. And there you have those. So if you want to duplicate those, turn that one off, flattened this layer than you can copy it, find an area and this illustration and paste it. Oh, they're much bigger. Make sure your stems are not going to be ending in a weird place. I'm gonna have those going on top of everything. Maybe not if you feel like you want it to be, uh, something that isn't so see through you can actually just duplicate that layer and then take another look at it may be duplicated again and it gets more and more white. So I just wanted to show you some ideas for any more flowers to your illustration. 14. Purple Flower and Water Droplet: we're going to talk about rain drops today, and I have a fun way of making them. That's much more simple than you might think. So since we already talked a lot about how to do some loose florals, I am going to speed through a drawing of a flower, and then I'm going to stop and spend time. I'm showing you how I would do a raindrop. So I went through and saved some photos. Not all of these air free use photos, so I can't give them to you. But if you just search on macro water droplet flower, um, together, you'll get some really great images. I really like the drop on this one. This Well, I believe this was a free went, say can look on picks, obey or unspool Ash. That's a great one. And this might look familiar to some of you, so I'll be showing you how to do how to draw a raindrop. Kind of from the top for you, like this as well as the side view. Probably this one. All right. So I'm going to rush through, use this as my reference photo, and, uh, then I'll stop when we're ready for the raindrop. So as you can see, a use a combination of clipping masks in elf a lock? Um, I mostly just did Alfa lock for one adjustment to some of the different tones. Different, I guess, Shades. And then once I started to do so, I did darker. And then when I did lighter and lighter, it did him on different layers. So that could make changes without affecting the darker. So have a lot of clipping masks and a lot of alfa locking. I did this Demel in one layer for a background. I actually just when it had and did a pretty dark airbrush. And then a very light Boca Lights said to go to a luminescence. Boca lights with procreate five they change. Spoke alights to be, um they kind of changed colors a little bit to see if I can get it to do it. Of course, it's not doing it. But if it changes to different shades of blue and you don't want that, then you can get the lights to where you want them. And then Alfa lock O. C. There's a pink one right there. Um, and then Alfa lock and fill with weight. So just play around with the Boca lights until you get them where you want them. Because, of course, apply a blur to them as well. Some of them already are blurry. But if you want to make him all a little bit blurry, I also kind of I liked him to be a little bit bigger similar to that, and then play around with the blend modes. It went down too hard, light and for some reason, not sure how big of a difference that made. But it does look better to me. And then you can go through again with your background and your airbrush and dark. In some areas, it can cease, um, dark areas in here. Okay, so now I want to focus on the water. We're going to go on top of the flower at a bunch of layers on the layer right above the flower. I'm gonna pick which flower petal. I want the water droplet to be on. So I'm just gonna pick this one right here and go to the model A brush pretty small size. And this is where it doesn't matter what color you're using. You just try to get your raindrop shape. So I'm gonna zoom away, and so I'm going to do a big shaped like this and then just let it snap this. See if that's big enough, that might do it a little bit bigger. Just start over. So I found When I do this, I just try to do one curve, not a not like this. It ends up being a weird shape, and then I'm going to the bottom of it. I'm going to curve along the pedal, so lend it being like that. So let's finish off the shape because we're going to fill it, curve that bottom along the pedal, curve the end up. So spend some time on this. Spend some time getting exactly where you want it. The right shape. I don't know if you can hear a rainstorm still going. I'm noticing this one curves in more on this side. I might try to erase and get that look and then turn it off. Tap on the menu on tap, on the layer, and from that menu, tap select, and you can see that that area is selected. I'll keep it zoomed in, and I'm gonna keep it over here by this guy. So we're going to different layers were not gonna work on this later because we're never going to be turning that layer back on. What colors do we see? We see the blues from the background and whites and we see ah, very dark purple with the lighter purple and then maybe some black up here and white around the edge. So I'm going to do all the white later Before we do the white, we're gonna do these purples and blues. Make sure my selection is still long. I'm just gonna go to airbrush and go to a really small size Go to this blue and it looks like if you cut that raindrop in half the top half basically is this blue and then I see some that comes down the side over here. Hopefully you can see my selection. I'm not doing a solid layer. I can still see my flower petal through there a little bit on this same layer. I'm going to come down to this break purple that we used and a CIA A nice, big bright section here pressing really lately and this super dark purple. I'm going to a really small size because it's just a little bit around the edge. Some darkness over here. This does not need to be precise. I even see a tiny bit of darkness in this blue section. Go back to that blue and go to a really dark version of that. I see some really dark blue over here. And then let's go all the way to black. I see some black up in here. We're gonna go ahead and blur this just a little bit. That's at 3.7. I still have this election on. I'm going up one layer and I want to get these really bright spots down here. So I'm going to solid white. I'm still on the air brush. I basically don't leave my airbrush and I have a big patch of white down here and it's kind of curved. I have another patch of white over here. There's a dark line in between said, just gonna leave that open and then I have a taller piece over here. 123 I'm going to be blurring these, so I'm not going to do this outside white yet. I might do a little bit of white over here and a little bit of white over here. I think I'm gonna make sure. Then I have all the white that needs to be down here on the bottom and seen several really light blues on top of that blue. So I'm going back to that blue, and I'm going to bring it really light towards white, come down in size and just get some light areas in this blue section as well. And I'm ready to blur this Just a little 1.5%. I'm going to go ahead and go to another layer, go all the way toe white and a little bit bigger about 2% of my airbrush and I'm just gonna go around. So I see it skinnier over here and then white or up here and then it's also wider down here and there's a little bit of a bright white spot on the site. I'm looking back and forth and I see some more dark purples in here that I don't see on mine. If I want to go back and fix that, I could do that right now. I could do that at any time I'm gonna go to us really small size and just get some darks. Now, remember, I already blurred that layer, so I don't plan on blurring it again. So I'm just kind of carefully adding some some darks in here. All right, so one more layer great white. And this time I'm going off of the airbrush and I want to do in nice, solid line, but tapered. Let's zoom back out and see what we have. Make sure your bright spots are all all where they need to be and seeing a bright spot over here, I'm gonna go ahead and add a couple more bright spots on here and then last but not least, there's usually a shadow underneath to get your shadow. You're going to go back to this main raindrop you did tap, select, and then tap Invert. That means you can color around your bubble, and it won't color inside that space. So go to earlier under it and just get one of these purple colors. If you put that layer on multiply, it will automatically go to a nice dark color and let's go back to airbrush, so this one's harder to see But there is a very dark spot on the outside. Right over here. For this pedal, you can see the edge of the pedal goes right up to the bubble. Ours is a little different. It almost looks like around pedal. So if you want to make the look of that more like an edge of a pedal, then you're gonna go back down to your flower to the layer that the pedals around. Oh, that looks like a good fit right there. These pedals. You can just go ahead and add another Colombian mask so we can erase it. If we end up not liking it. Let's choose one of thes lighter colors. Maybe this light color right here and we want to stick with have consistency with the overall look. So I am going back to the jagged brush and I'm just gonna lighten up the top here and then I mean a dark in this area under it go back to under this one. I might even go darker, and I think that pedal shape is a little bit round for me. So I'm gonna go to my model I brush and just cut some of it off here. So that's one way to do a drink up 15. Orange Flower and Water Droplet: for this flower, I would go ahead and make the background bring Now let's pick it yellow. Then we will have to work as hard with the yellow to get it to be so great. Let's do a nice bright yellow. I am going to get this super dark brown and my streaky brushes. Let's do bold streaks. Let's have some fun with this one. Just gonna go in the middle here, going to some layers underneath lasso tool. So these petal shapes look like that fish once you have that selected Well, I'm not feeling the layer. I'm just gonna go straight to orange, jagged, brash, just like her poppies. Just get some strict G color on here and seeing more orange in this center of the pedal right here and going to go to a layer underneath that and make some more layers or somewhere pedals. I'm gonna go to a darker color just so it's a little different in its underneath, so it should be a little shaded down there. So that's generally how I did the flower. Um, I would spend more time on this because I think the leaves look all too similar. The top ones and the bottom ones. So I might spend some time. Maybe I'll put the bottom ones under the top ones. Yeah, just, you know, spend some time making him look like there's definitely more layers. And I'd get the green out from under there. But what I want to really focus on is how to do the water droplets. So just like we did in the last one, pick a color, go to the monoline. These air all round so can have the snap tool tap your finger and then it makes it round. Although you're not perfectly round. So maybe if you put a whole bunch of round ones in and select it and squash them, put it on free form and then dis question that way, they're all a little bit Huvelle ellipse. We're gonna fill those. We are going to add a layer. Okay, so we turn that off, select it, go to a new layer. You can barely see these four spots. Now we're gonna look what colors do we half? We have some some colors that match exactly what's under them. So we go to some break Hello? Go to airbrush. We have dark areas on top of each one. So I'm gonna go to a new layer and with goto a gray. But we'll see about putting this layer on multiply and barely pressed in. And in getting this dark top on each one of them, they're all a little bit different. I am going to go to a layer under that can. I'm gonna get a really bright color close to white, going to a new layer it in super bright light and I'm going Teoh studio pen and I'm putting the super light highlight on each one. I think the white is a little too much. I'm gonna go with a little bit of a yellow. Now I'm going back, selecting that layer again and tapping Invert and I'm going to go to a lier under it. I'm gonna go ahead and select one of thes orange colors and put that later on, we'll to play and then bring that color to a more gray towards gray towards black and go back to airbrush. And if you look down here, you can see shadows. So look, let's get this one. Is it dark orange shadow there? This one has a right edge here and then a shadow 7.5 the shadow come out. But I think I'm actually going to erase some of it as well, some lightest kind of shining out of it, right along the edge here, right here and then Some of them have a bright spot shining right down onto the leaf right out of them. We can't do it on this later, because it's a multiply layer. So let's go to a nice, bright yellow towards white mystic with the airbrush and try to give that look. Not all of them have that, but most of them dio this one doesn't great. Let's go back and see if we like the look of that. I would say we did a pretty good job at making those look like raindrops, so you can see how you could do a whole bunch of them all at one time and just do each step on every single dot and go to the next step and do that on every single dot. I didn't finish our flower in here. I would probably go. This one has some place bright orange in it. I think I just had some fun with some lines. These are a little bit crazy, lion, but you get the idea. So now you have Cem rain drops from the top view and the side view the other ones that we've seen. Um I got inspiration from some other photos at sea, so I really liked this raindrop right here and those pinks. But I didn't want to do that flower, so I just did another very simple flower scribble e in the middle with my grand brush, Boca lights. And instead of choosing the colors I saw here, I'm chose the colors from the flower I was doing. So I chose the darks for the dark areas from here, and I chose the lights for in here and over here you can see that color. This is my inspiration for this one. I did this raindrop a totally different way. This is just a bunch of yellow Lara Poona in the background and blurred. So just blob that all on I used the lasso tool for all these pedals and a lots of streaks. And for this raindrop, I actually left. I left this layer on and then I used clipping masks on it So this raindrop is not a see through thing at all. It's just all all of those purple colors and yellow colors are added to it. Just kind of looked in, checked out what I saw here and tried to do the same thing over here. This was another one. I think this was free. I'm not sure if these air riel they look a little bit too round, but you're gonna have lots of fun. You'll see reflections inside the rain drops of like the photographer. Okay, as usual, I can't wait to see what you do. And, um, have fun. 16. Robin Nest: it's time for a fun little Robin nest. I'm going to use the SAS Afr ass brush, which is in artistic. So in order to go ahead and put it in your spring class brush set to swipe it duplicated, and then you can drag it over to the side and go up to the spring class brush set and then just drop it in. Let's go to this middle brown right here on this sassafras brush, and right now we're just kind of getting in our overall shape. I don't want any white spaces. Justin Hiss way changed. That background will be adding a little loose strands of Hey, later, I'm gonna go ahead and go to another layer and go to the darker brown, the middle one right here, and to make it look like you're viewing this nest sort of from the top, a little bit, not straight down. We're going to put a darker oval in the middle, and it's not going to be in this center. It's going to be a little bit towards the back of the nest, and that's kind of the shaded wall that comes down behind the nest inside. And then to add to that a little bit more to make it look like the angle we're going for. We're just gonna go to a pretty light brown. So just go ahead and bring it pretty close, toe white. I think it's OK to stay on the same layer and highlight this front inch play around with different brush sizes. There is going to be a little bit of a highlight on the back, but mostly we want this front edge lightened so we can come back to that. We just need to remember we use this house a fresh fast, the fast brush. And if you want to name your layers Sassa Friess, That's one way to remember. I don't know why I started so high on all of these layers. So bring those two down. I think it's actually safe to merge. Those just have this all be one layer. All right, so we're gonna come back to that and in the meantime, we're going to make our Robin eggs. I'm going to my brushes and to monoline Brush, and, um, you know, it doesn't really matter what size, and I'm going to let the snap tool and go ahead and just to make an ellipse for us. So don't put your finger down or it'll make a circle. So if you just have any lips, fill it and then select it. No go to liquefy on this push mode. I have Momenta Mint distortion down. I don't really big pressure matters as much as just this size here. And, of course, eggs are a little bit bigger on the bottom. So I'm just gonna play around with getting an egg shaped that I'm happy with. Do you think that's good? So it's narrower on top and whiter on the bottom, and I didn't wanna push up and have a flat bottom. The color doesn't matter so much because will be changing that later. One thing that does matter is if we keep this crisp, clean edge, it's going to look like clip art when we're done. So if you go into the spring class and let's go to a jagged brush, Sassa Frost might work, but let's get a jagged brush. I'm down at 2% and I'm on this same color, and I'm just kind of painting the edges to give them a little bit of a rough painted look, we'll go to a clipping mask above that egg and we're gonna go to textures. No, I'm sorry. We're going to Where is it? Touch ups. This is why I make this is why I make a brush set for classes because I never remember where to look for things. So if we go to touch ups and then go to this noise brush, I'm going to leave this on this color and we'll do our noise. Speckles more of the Robin Aid color. I had this color in the palate, but when I really started to look online, I realized that the Robin eggs are a little bit more muted than that. So go ahead and select that one and then slide it over towards grayish whitish. That's still pretty bright, so you can play around with this for if you want to just go ahead and change the color of this. You can to finger swipe Alfa, lock that and maybe go to a nice dark teal and fill the layer. That is not the look we're going for. For a Robin egg, you can look a reference photos for Robin aches. Let's go to a really light teal feel layer. It's a little better get in there. So we'll go to another clipping mask and we're still on that noise brush. And I'm gonna go really close toe white. But I'm still in that teal and I'm gonna go down in size and just get some highlights on here. Make it start looking a little bit round. That almost looks like I did airbrush the speckles air Really small. I am going to one more clipping mask, putting it on multiply. And I am going to go to this teal color and then I'm gonna go back down, and I just want to see what I can do to get some shadowing along this sides. So I feel like our speckles are a little too heavy, and so I'm going to blur them a tiny bit. So I did 1.1% on that one, and I'm going to this very first layer of speckles. I met 2.4% on that. I like that a lot. So we'll come back and make some or color adjustments to that once we kind of have a good idea of this final look. I am going to go ahead and group together. All of these. So that's four layers for one egg. I want to show you what we can dio once we know exactly where this egg is going to be placed. If you want it to look like it's hidden partially behind the rim of this nest, you do not need to erase it. You go to this main lier tap on that and tap mask, and this white layer pops up. And then if you were on black, then using any brush, you can, um, a mask that section and it looks like you're going to be racing, but it's not. So I am going to go on a little bit of a texture brush so it doesn't have a super clean cut edge. Just my wide six be no taper and I'll show you what I mean Simon Black. And if there's straw and hes to Conover and it won't be a very clean edge there, some kind of diss making it a little bit rough, and then that's what the masked looks like. And then if you need to make changes, you always have that egg there. If you need to make changes to Let's say you accidentally made a spot where you didn't want to erase or cover the mask. Then you just go back toe white. So you're adding white back onto this white layer, basically, and you just start coloring with weight and it feels it right back in. So that's something we will come back to when we're done with the nest and will also just be duplicating those eggs and placing probably three of them in the nest. I'm going to go on a layer above the nest layer and go back to some of our light tan colors . Go a little bit lighter. Some highlights in here. I don't want to use my bold streaks because it looks like parallel lines when you use it. But I do when it gets some Twiggy looking Hey, pieces and straw pieces in here. So I just have my Gen Inc on about 30%. And I've chosen this color right here doing some short dashes, some long wavy this one hit under the egg because we're on a layer under the egg. So if you want some strands to go above the eggs, go ahead and go on a layer above the eggs and then you can play around with that. I want to start changing tones and get in some darker ones in there. Go back down to that layer. You can see that this could take a while to just keep going and going and going. I do want to have some nice Twitty looks in here, but I want him to be a little bit more sketchy. So I'm gonna go to my six B and I'm just gonna go toe another layer directly on top of our watercolor Reese Asa frosts layer. I met about 45%. That's a little light when I choose this color and then go darker. So I'm liking are crazy. Little strands out here, I think, are Sassa. Fast Layer needs a little bit more contrast, but I don't want to paint directly on that layer just in case I changed my mind. So I'll go to a new layer and go to Sassa frosts and maybe go to a smaller size. Let's see him still on that dark color from in there. That's a little too dark. It kind of has a water calorie Look, I'm not sure I like it's sticking out like twigs, but I like having the contrast of the lights and darks. And then even on this really light lier, I'm gonna go to a smaller size. It just gets, um, more contrast in here. Kind of looks like a long band of beige right now, So I'm liking that nest, and I want to finish the eggs. So I'm going to duplicate that whole group. I'm just gonna go ahead and, um, delete this mask and then add a new one. So I have a nice fresh mask on that new egg and he just like the whole group. And then let's duplicate this again. We'll go ahead and duplicate that when we just created, since it has a nice fresh mask on it, and I'm just trying to play around with where those eggs would be. This one's going down underneath the other two layers, and this 1st 1 we did is going on top. So now when you see them overlapping, it's hard to see right here. But this first egg is on top, so it's blocking part of that egg just like this one is blocking part of that egg as well. So once you like the placement and I realized we didn't change the tone for these at all that, um that's OK. I think that's actually working out. So I'm gonna go ahead and erase some of this mask, go back to Black, and I didn't get to that with my wide brush. There's other brushes. It doesn't really matter. And the other thing that would be going on around these eggs is some shadowing underneath them. So we'll go on another layer and we'll put that later on. Multiply. We're already on this dark brown. I need to go to my damp brush. I'm trying not to go up here on the edge, But if I dio since I'm on a separate layer, I can come back and erase that. I think I'm really like in the eggs. Overall, I think that if we look at a reference photo, we might see that there would be some darker areas and lighter areas that you can play around with each one of them separately. So if you want to add a robin to this design, I would suggest making it have a similar look the robin that we did in the first couple days. A class had a very crisp, clean look, and it would not look good with this design. So you can go ahead and group this whole designed together so that it can be moved around as one unit, and you can add some trees, maybe some flowers, apple blossom flowers and some leaves and really make it look springy. 17. Bonus: Fun with Text: I wanted to do a little bonus video using the text future for slightly more involved. Um, little spring sign more than what we did in the first week, and I'm gonna go ahead and show you how to use the free fonts website that I use. I just Google free funds, and it's usually the 1st 1 that pops up. It's called 1000 and one free funds, so you can type in a word or phrase here and press update, and then the nay instead of having the name of the font here, which is still up here. It'll most of the time have your words in this section. Sometimes it doesn't, and it uses the name of the fonts still, but I go through on this side. You can see free or personal use or free for personal use. Demo Um, and you'll find Sam. That's a completely free, which is great. Um, and then you can just keep going and look for public domain or commercial use free for commercial use. I don't use the ones that are free for personal use because I won't be able to keep track once it's in procreate. I mean I guess you could make notes somewhere, but I just like to keep it safe and keep free ones in procreate so I could do whatever I want without worrying about it. There's some topics up here you can tap on. I went ahead and found some ahead of time, and so I'm gonna type in those search box. Yester year was one that I thought was nice and bold so you can go ahead and tap Download. This is a public domain win and then tap download again and you'll see if you're in safari . This is what happens. That little circle with the arrow kind of bounced down and it downloaded. Going to do a couple more before I show you what to do. After that engagement was another one I thought was fun. It's similar and then play ball. And what I was looking for was where the lines connect. And some of sometimes the R isn't connecting very well in that phrase. All right, so I'm going to download those three actually already have play ball, so I'll show you how to get the other two in to procreate so you can tap on that little download button, and there you have your three fonts that you just did, and they're all zip files, which, if you have, then your IOS 13 or higher. You can now deal with Zip files without having to have a separate app. Tow opposite files. So you just tap whichever when he went. Let's do engagement and it's going to your files. So your files app looks like this right here, and then it's going to the download section. So in this section, you should find, uh, what was it called? Engagement right there. So tap on it, and then that folder pops out. You have to have that folder popped out. And then once that's open, you can download this in two ways. You can either just go into it again. Here. Cem Terms of use, which basically says not to sell a font. Because this is a public domain fund, you can go through and read some of these things, make sure you're using it properly, and then you just tap that. I can't zoom in on that. It's the dot TTF is the actual font, so I tapped it in a way right into procreate. Then you can go to the wrench tal add text. And then, um, that was a different thought that I used before at its style. And that was called engagement something just double check and make sure it's here. Oh, it's got a really teeny tiny little title there. Let's see if we like that. Um, let's see. Hello, Spring. So that's kinda nice. And let's go back to our downloads and do yesteryear, and I'm gonna show you one different way to download this. You need a tap on it. And then once you've tapped on it and you have this folder image, then from procreate, you can actually get to it. So add text at its style import fund. Go to your downloads and here it is, right here. If it had been still a zip file and you hadn't opened that folder, you wouldn't be able to get to it. So make sure you do that, and there it is, and you could do the same thing dragging and dropping. If you do a split screen with your files, you can just drag and drop over, so there's three ways to do that. So go at it style right we haven't selected or front yet, so that one was called yester year. And here this. So that was engagement. That was yesteryear. And then let's do one more that's play ball. So I'm just duplicating that file. I'll move it down here, tap, edit text and I already downloaded Play ball. Okay, And it doesn't matter if there's a lot of space, we can change that. So just play around with If you pick one that you like, I am going to go with engagement. I'm gonna go ahead and delete those other two. Send me to make this nice a big This is not rest arised yet, so I could make it nice and big without worrying about it looking pixelated and edit text. And you can play around with the spacing here. There we go. So it's leading so you can play around and get this basing that you want. Or you could have rast arised in just selected spring and moved it up yourself. I am still going to go ahead and rast arise This I'm going to to finger swipe to the right to Alfa lock this and I'm going to duplicate it two times the bottom layer. I'm making black the middle layer I am making white. Now that bottom layer I'm going to take the l foot lock off and I'm going to go to the magic wand. Gosh, a blur and I'm gonna slide it up to about I don't know, eight or 10%. You can play around with that and it's selected. And then they move it down to the bottom and to the right, select the white as well and move it down and to the right as well. You didn't tap if you want very small amounts of movement and now you have a fun the look that gives it a little bit more of a three D Look, that gray area makes it pop off the page. You can turn on that, Goshen Blair, layer the opacity on it down by tapping this little end. What I really wanted to show you was what we could do with this pink layer. So for the pink clear, I'm actually going to go ahead and turn it white. And right now it's kind of blending with that white layer underneath. I'm going into at a clipping mask on top and I'm going to show you how we can use the harmony tool here. If you haven't played around with that too much, go to your palate at a new palette because our spring palate is full. When they go back over to harmony and you have a nice fresh palette, I'm just gonna go to try attic that gives us three colors that go really well together. These are all very pastel colors right now, because our scale here is alway toe white and then you can adjust that. So I'm looking at all three colors as I move around a little bit and I'm gonna find three that I think are going to be fun for a spring illustration. So tap when added to color palette, top the other. When added to your color palette, have the other one added to your color palette. If you want four matching colors, you can do what was that called te tragic. And then you get four. So however you want to do that, and then let's go to these gems spring class brushes and go down to the water glaze. Or you can go into the water brushes and pick water bleed. Let's do water bleed and you're on a clipping mask and I'm just gonna add some pink. This actually isn't as bright as I was hoping, but that's okay. And I'm gonna go to one of the other colors we don't need to be. We could be on the disc now. I'm not overlapping too much because they they do turn into a new color when you overlap them and we will be doing some blending and then our third color. So this is all I'm one layer. And then if you tap and hold the blend, it will go to that of this metal. It'll go to whatever brush you were on, and then you can zoom in and blend your colors together a little bit where they meet. I'm kind of pressing heart. Kind of like it's adding water. This brushed it a pretty good job of, um, blending the areas that meat one color meets another color. One of the other water brushes didn't do as good of a job with that. So And that one must have been this water glaze. I think it waas let me check. That could be mask. It is a more intense color, and it has that watery edge. But then when we go to a new color, it adds color right on top. And then it's a nice not nice. It's a dark, dark, dark color because it's a multiply. Brush is just adding layers. So it's a great one if you want to use this one and you're careful about not, um, combining two colors like that unless you want that look, of course. But this is a nice watercolor looks. So that was called wet glaze. And that is, I believe it's in my class. Yes, it's down at the bottom in our class, but it in procreate is in water. Yeah, right there makes sense that it's in water, okay. And our pink color, these air much more vibrant. I'm liking this. I guess I need more green down here. And then if you want some green where you already have a different color, you can tap and hold the eraser tool and erase some of the color that you've already got on there so that you can add a different color. Okay, I'm kind of rushing through this part and then tap and hold so that we have the wet glaze. Now, as this much tool, I'm at about 9% and about 63% opacity. And you can see this one didn't do as good of a job mixing where the colors touch each other. So I just kind of go around and tap a little bit. I'm trying not to pull because it does pull the color a lot. I'm just trying to blend, uh, zones where the two colors mean because that's what would be happening. If it were a wet thing and those colors met, they would bleed into each other. They wouldn't stay separate like that. I am not a watercolor artist, though, so Okay, so I'm doing a really quick job because I don't want this tutorial to be forever long, and I want to show you one more thing. Oh, that was a fun look with the blue and pink making purple right there. So one more thing, IHS getting that edge of the words the letters that all these edges to have another darker look. Let's go back to this one First. I want to show you one way you can make it more vibrant and that's simply duplicating. And then you can combine those layers. So if you want that much more smooth watercolor, look and use that brush, this one's a little bit more blotchy. Also often look Okay, I'm gonna stick with this blotchy one to go to another clipping mask, and I'm gonna put that layer on multiply and then I'm going to choose a gray when I might need to experiment with this a little bit. I'm on that wet glaze brush, and I'm going to go to a small side, say, 4%. And I went the edge. Now that that's too dark. So I'm going to go to a lighter grey. And the reason I'm using graze because I have multiple colors going on here. And with that being on a multi play, uh, blend mode that layer the gray should take on a darker tone for each of the colors that it hits. If that makes sense, so it'll make the pink darker. You'll make the green darker, and I don't have to keep going back and forth, changing the color, going to go up in size to about 6% and you could see my pencil is outside the the edge of the letter and seeing that it still looks pretty gray, you can play around with different blend modes. Sometimes color, burden and linear burn are good ones to choose to. So I like the color burn right now. And it made the the blue really dark blue and the pink really dark pink and the green really dark green. So take some time and go around all your letters. So as you can see, I left the inside light and I did some very uneven layers of this gray on this, um, additional clipping mask. And if you want to lighten up some of that colorful layer that's in the middle, you can go ahead and go to erase on a pretty small scale lips. Make sure you're on the later that has the color. I'm gonna delete this other one. So where we are confused and you can erase a little bit and then go to this smudge tool on that same fresh and just kind of smidge it around, and it'll have a lighter spot in the middle when you do that so you can spend a lot of time fussing around with this, of course, but I wanted to show you. Ah, one more step. I think this is beautiful. Like this community. One more clipping mask goes straight, toe white and go up to studio pan in our spring class section, and I'm going to think about upper left. So anything that's upper left on each layer on each letter is gonna have a little splash. And you can have lots of family fat. There's fun, little dash, dash, dash on things you can do all throughout and give it a nice fun look through all this center of your lettering. This is why I chose a farm that was nice and thick and bold. If you chose a font that was very thin, it would be in a little bit more complicated to give this look all right. Have fun.