Spring Illustrations in Procreate Part 2 | Jennifer Nichols | Skillshare

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Spring Illustrations in Procreate Part 2

teacher avatar Jennifer Nichols, Leila & Po Studio

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

19 Lessons (3h 52m)
    • 1. Intro to Weeks 3 and 4

      1:24
    • 2. Setting up Canvas for Insect Prompts

      2:46
    • 3. Ladybug Part 1

      19:21
    • 4. Ladybug Part 2

      12:41
    • 5. Luna Moth

      19:14
    • 6. Luna Moth Moon Background

      3:31
    • 7. Dragonfly

      10:29
    • 8. Butterfly Overview

      3:10
    • 9. Flower and Bee

      8:01
    • 10. Spring Mandala

      8:27
    • 11. New Downloads for Week 4!

      5:08
    • 12. Vintage Bicycle Pt 1

      19:41
    • 13. Vintage Bicycle Pt 2

      11:39
    • 14. Watering Can

      19:56
    • 15. Container Garden

      19:54
    • 16. Batik Eggs

      19:45
    • 17. Bunny Sketch

      13:49
    • 18. Completed Bunny

      19:55
    • 19. Flower and Butterfly for Bunny

      13:16
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About This Class

This class is the second part of a 4 week “course” that can be easily used as a 30 day challenge if you wish! Each day is less than 20 minutes but some prompts take a couple days to complete. It is geared toward beginner and intermediate levels but anyone can take the ideas and turn them into their own creations. 

Weeks 1 and 2 are in a previous class on my profile! 

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Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio

Teacher


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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Transcripts

1. Intro to Weeks 3 and 4: Welcome to my spring illustrations class. Weeks three and four. The 1st 2 weeks air posted as a separate class, so you should definitely check those out. If you haven't found those, you can get to them on my profile. We're exploring symmetry in Week three, and since it's spring we're doing bugs. We'll go over clipping masks and blend modes. You'll receive 14 free brushes with this class. The brush set is called Jen's Brushes. They are the same as the brushes from Part one week's Wanted to, and there's also a brush set called Jen's Spring Class, and those are all native brushes from procreate. But I use those brushes in class, and it's just easier to get to them, um, with them all being a one category if you already took the first half of this class. The part when all you need from the resource is section is the new color palette. Come join Liz Color Brown and I in this great Facebook group. For iPad artists, it's the best group. The link is in the about section. Also in the about section is a link to my instagram as well as the hashtag you can use for this class. My name's Jennifer Nichols of Layla and Post Studio, and I'll see you in class 2. Setting up Canvas for Insect Prompts: I wanted to show you how I'm going to set up our canvases for this week's tutorials, so I don't have to go through it at the beginning of each day's prints. So if you go to the plus sign and go to this plus sign, I always go to 10 inches. So atop inches here and 10 by 10 I would suggest using a square for this week. Um, actually, you know what? I don't think it matters, actually, except for the last one. So, um, probably an eight by 10. If you're going to go with a rectangle, go with a more of a landscape mode. Because of the insects wings that usually air longer or wider. I always use 300 d P I and then tap create. I don't usually mess with anything else. Once you do that, it will be in your list so you don't have to keep doing it for me. I went ahead and put it at the top of my list, cause you can drag these around like this. So now it's always at the top of my list. Go to the wrench tool, go to canvass drawing guide, edit, drawing guide symmetry, and this is already automatically going to be on the vertical symmetry, which is what we use for most of our days this week. And then I'm going to change the color of my guidelines so that it can be more easily seen in the camera. But you can just change it to whatever you want yours to be. Some when I'm normally working, I don't like it to be very visible at all. And then the opacity of that line and the thickness of that line are changed right here and then tap done. You can turn drawing assist on and off. The dryness ist means that your symmetry is going to be applied to the later that you're working on. So when you add a new layer, it's not automatically applied to it, so you can tap the layer and this layer menu pops up and you can top drawing assist, and you can turn it back off the same way. So I like to just duplicate and start with about 10 layers that are set to the drawing assist. Because I like clipping masks and for these insect, um, tutorials. We're gonna be using a lot of layers. So each canvas is going to be already set like this for the promise that we have this week . All right, see in the next video. 3. Ladybug Part 1: I'm going to start with the ladybug. I didn't worry about getting a free use photo because I'm not tracing it. I do want to turn this ladybug so that it's oriented in the way we will be drawing it. So I'm just gonna drag that over, and then I can play around with it here, make it bigger, and then just save that as a J peg and it'll pop back over here, and then I can delete this or just clear this layer. So now I have the reference photo oriented in the way that I want it. And let's get started with a sketch. I'm gonna be on the top layer and just any dark color and your favorite sketch brush. I like my six b No taper on about, you know, 30 30%. This ladybug is overall just a big oval. Yeah, So if you get a pretty basic the lips or oval down, then you can start making some adjustments like it's a little point to your down here. So maybe you just come down a little bit tap and hold the eraser to get that same brush on the eraser and the top is nice and flat. I think I have that. The head here is kind of like that. I think maybe this whole black part is the head. So I'm not sure what this little part is here, but that section sticks out about that far. And then this whole black section, this head is kind of tilted that way. We're just going to make it symmetrical. I would say that this part right here is probably, um I don't know. Maybe if you cut this into quarters, it's a little bit higher than that quarter line. So it's about right here. Then it curves that like this, and a better really accentuate that curve here. The red kind of comes straight across and then curves right here can erase these little gaps here. If you look really closely at the intent, others kind of a little bump that sticks out first. And then a little antenna and the legs insects have ahead of thorax and abdomen, and the wings and the legs all come off of the Thor X. So on a ladybug, that's impossible to see from this top view. But if you can kind of picture all the legs originating from this middle section right here and then coming out. So this front leg, you can see kind of coming out right here, and then it gets narrower. So it's wider here and the narrower here. And then it angles out this way, this wider section and then it's skinnier here, kind of at an elbow area. And I can see that it cuts off almost in a vertical direction right here and then these little kind of triangles. When to three. This last one kind of has these little toes on it. I'm not sure what they are, This one. The legs come from a little high on that red section and down here, little lower on that red section. So this one comes out at a nice angle here. Triangle, triangle, triangle, little toes. And this does not need to be precise. Um, you're mostly going to be focusing on getting it's sort of proportionate. So that doesn't look like it has teeny tiny baby legs on a big ladybug. And let's work on those spots. It's too big spots right here. Two medium spots right here. And two small spots right here. I'm gonna lower these spots, and then this one is kind of like a ginkgo biloba leave and comes out than that little whiter patch right here. We have some big spots that kind of implicate, and I break here and then some more little white patches way up on here. So there is our sketch. Go ahead and turn that opacity down. And if you think about what should be a lower layer, the legs should be at the lowest layer and they're sticking underneath everything. And then the the red and black are kind of, you know, they could be on the same layer. I'll do them on different layers so that we don't have to worry about. And our clipping masks kind of, you know, mixing over the top of those two sections. I'm not drawing the line down the ladybugs back yet. This isn't straight down. And if I try to draw it with the symmetry on, then it's just not gonna look right. In fact, on the sketch layer, if you want to turn drawing assist off and just just get a little bit of a curve there, so we remember that later. All right, let's go down to a low layer and go over to the studio pen on black, and we're just gonna outline the whole leg. We are already on drawing assist because we prepped her canvas. That way, closing the shape lets you fill it with the drag and drop. We'll go to a clipping mask right above that clipping mask. I'm gonna show you two ways to make the kind of furry look on the legs. The clipping mask way is just going to keep the for right on top of the black where it is now. So let's go to this yesterday color and just go a little bit brighter. And let's go to my wide pencil stroke on a pretty big size. I'm at 75% and I'm just adding some texture. Can you see? It's just kind of some texture, and it's gonna give the look of kind of a furry lake. It's kind of furry or down here at the base of these triangles. More looks like there's a lot more on this set of back legs, so that's one way that you can very easily get, um, that Harry texture there the other way is to go to a layer above the legs that is not on a clipping mask and maybe just get the jagged brush from our spring class ones. And then, um, this one allows you to go off of the edge of that black. So it's a little bit more hairy looking, and you can go around and do that on the whole thing. All right, so I'm calling our legs done. It's that easy. I'm not seeing any highlights on the legs. If I did, I'd probably go on another layer on another clipping mask and draw those highlights on so above those two leg layers. I'm going back to black, and I'll just go ahead and do the head. Oops! Up to studio Pen. Uh, I'm gonna turn the legs off so I can see my sketch here. I'm just going to try to get it all in when fill it lips and let's go ahead and do the antenna. A swell on the layer above that will go to a clipping mask, and we're gonna go to this cream color right here and make it a little bit more towards white. Let's go to my no taper wide brush in the Gens Brush section, and we're just gonna draw. I can't see my sketch right now because it's black on black, so I'll go up to my sketch layer, turn on Alfa Luck, and I'm already on a light color so I can just fill and it makes it a light color. It also bumped that opacity them opacity back all the way up to 100%. So bring that back down. Go back to my clipping mask that's above my head layer and get these white spots cat it and maybe go back to that leg for color and get a little color on the antenna. I'm gonna to finger swipe that toe. Alva luck. It's just another way to Alfa Lockett, and I'm on that mustardy color. I'm going to go back to the color that I used for these spots and to spring it down to a more gray yellow, and I'm gonna go to the noise brush. So if you go down to touch ups, then ways brushes here, swipe and duplicate, then you can tap and holding kind of drag that out and bring it up to the gens spring class because thes air all the appropriate native brushes and then just bring it right in. I already have it there, so I'm gonna delete it. But I wanted to show you how you can bring new brushes in, so go to your download. Won't have this. I added this in a different recording. So, um, the download that is in the resource is section of skill share. It doesn't include this brush, so you'll need to add it if you want to use it. So I'm on that creamy color and I brought it down towards gray. And this noise brush just kind of puts a lot of little speckles and I want to darken these outer edges. And so it's on Al Pha lock. So I can just kind of do that and it kind of darkens that area a little bit. I am going to Alfa Lock. No, I'm actually going to go to an another clipping mask, but I need to go under this one. Turn on drawing assist, and with this same noise brush, I'm going to this gray right here. This is our spring Pantone 2020 palette. And I'm looking at where this big highlight is right here and I just want to get some ups. I do not want my drawing assist on because the highlights are not the same on both sides. So I'm going to get a big highlight right here. I'm gonna do some racing, and then I see a little highlight over here and the other highlight I see over here, I'm going to do with a different type of brush. But I do see some highlights up here a swell tap and hold the eraser to get to the eraser on that same noise brush and just do some gentle lee racing to kind of get that shape of the highlight to where you want it. Trying to get it to look similar to what you have over here and going into turn my sketch layer off, cause it's kind of blocking what I'm seeing here. And I'm going to my six be with the taper and I'm gonna get this sharp, more defined highlight here. And I see some right in here. Yes, well, and then I'm also going to do a little bit more with this white right here and just brighten it a tiny bit. Let's turn that sketch back on. And on this day on that same layer, I mean, they go back to the noise brush and go toe much smaller size. Just gonna get this a little brighter right here. It's gonna bring this with the sketch layer back on. I can't see it very well, because I lightened it. I'm just gonna go ahead and dark in my background. All right, let's focus on the big red section now, So go to a new layer above all of those. Go to the studio pen and go to this red right here. It's way too bright for what we need, but will will be making some changes. Now, this layer is on top of this. So don't you know, be crazy like that with it, but get kind of close to make sure there's no gap. And my pen just skipped a lot. Pencil. There's a little divot right here, so I just kind of went up. We're gonna come back to this layer, but first we'll go to a clipping mask above it. It will get our black spots Good Black. I am going to do this with my no taper white brush and I'm noticing how irregular these spots are. So I'm just gonna kind of scribble these on here. Fill it in. I like the texture. I like it too. Um, not have. Ah, solid. Phil. If you like more clean edge, like the studio pen gifts, you can use a different brush, of course, on the same layer. I'm going to do these super bright spots, so go to this cream color and let's bring it more towards yellow, because if you look really closely, there's a lot of yellow right here. If you're worried about bumping into that black, you can do a different layer. I'm gonna go back down to that cream and then I'm gonna go to this white and you could just leave it like that. It's a bit stripey, like a rainbow. You can tap and hold the smudge brush to get that same brush as your smudge tool and just kind of tap and smudged. Those, um where those colors meat and also where this edge is out here. Be careful. Not to a smudge right into your black. You could always go back to black if you kind of I need to touch up that line 4. Ladybug Part 2: I think we can go ahead and turn her legs back on and we're done with our sketch. Except for that little midline will come back to that. I'm also going to turn off my guideline during guide. So go to the wrench tool canvas and turn off the drawing guide. We're almost done. We just need to add some more dimension to our red layer and then get these highlights. So let's go to the red layer to finger swipe to the right toe Alfa lock or you can tap it and top Al flock right there. And that red was this one right here. So I'm gonna take that read, and I'm going to bring it down really dark, So basically kind of pointing straight. Those dots are right next to each other. I'm going to my damp brush. Most of this week's tutorials use the jacket brush, but I really liked damp brush on this 24 25% and we're turning, drawing assist off. We're not doing symmetry for this part, so I'm seeing some darkness right here. I'm seeing a lot of darkness appear here. I know this looks crazy right now. All right, I'm gonna bring it a little bit more orange and bring it up a little. It's, um, orange in there. You know what? That's not orange enough. That's two Brown. Let's go straight to this orange right here. It's nice to get a couple of colors right now. We have three because we have the red color that was underneath everything and then the two colors that we have been adding to the top. So I'm going to stay on this as the pen tool and not this much. But I can still smudged with it if you just kind of leave it around a little bit. And now I feel like I have gone a little too orange and come back to some red in here. That's a good read, but it's quite bright, and I bring it down, whips gonna bring it down a little bit. And then the other thing we can Dio is go to the magic wand, hue, saturation brightness and play around with the brightness a little bit. Be dark in it, some down to 45% which I like much better, looks a lot more like this. You can also play around with the saturation. So making those both 45% and we're going to go to a layer above the black dots, turn it into a clipping mask, turn drying, assist off and we're going to focus on some highlights. Go back to the noise brush and to this cream color, and let's go to about 20%. This highlight is kind of going from this side of this leafy, gingko biloba shape to this dot right here. So from here to here, and it is kind of is sideways rectangle kind of a diamond shape. This one over here is a little bit more like a jellybean shape. It might help to have your Sketchley or turned on so that you can see where that mid Linus , because this is definitely on that side of that made line. I'm not pressing very hard at all. I have some highlights over here on the side. They don't go all the way up to the edge or all the way down to the bottom there and on this side. It comes up here a little bit more if you need to. If you need to erase with that same just tap and hold the eraser. And then you can kind of define these shapes a little bit better, just like we did up here. I'm also going to go to a white and get a little bit. If you can see a much a brighter spot here in here and then on another layer above that clipping mask, turn off drawing assist and go to Studio Pen about 35%. There are some pretty sharp highlights along here. I think that's too bright. Let's go back down to that creamy color, make pencils skipping so we're not making it look exactly like the photo. But we do want to kind of still get some of these main, um, features. So there's a nice, bright spot right here. I'm liking how this is looking. I think if you if it's too dark too much, if it's covering the black too much, you can change the opacity on that. Oh, you haven't met like 80% and one last thing is our midline here are are kind of seam between the wings, so we're gonna do that underneath underneath the highlights. We do have another highlight. Actually, let's go ahead and get that highlight on right there. So that highlight is I don't want to use the noise brush for it. And I don't think I want to use the studio pen. Maybe I will try the noise brush on a really small setting, Turn this sketch layer back on so we know where that line is gonna be. And I'm on the layer with the other reflections, and I just want to get you could see my noise brush the You can barely see that they're speckles like this because I have the settings so small. Okay, that works. And we need to get these two lighter red stripes along both sides of this line. So I am going on top of this layer. It automatically made it a clipping mask. We don't need drawing assist on. And I'm going to this really bright read again. And I'm still on that noise brush. Go up to about 11% and see. Yeah, So that's gonna make a nice kind of faded line there. Glenn did looking line there, one on each side of this line, and it is a little bit darker right in between. If you want to go really turn the sketch off. I don't know. I think that it already kind of implies that it started there. And then you can blend. Um, I would probably blend with the damp brush this red line, if it looks too stripey, maybe pull out a little bit. But since the damp brush is what we used on most of the red tones, that's probably the best one to use for kind of working the edge of that red line into the rest of the design there. I think I want to just dark in my red over here a little bit. So I'm gonna go back down here and go to a nice dark, get my damp brush. Small size just can get some dark areas over here. Can it Helps it make a curve. Look, now's a good time to darken anything else. It's not gonna mess with those two red lines. We just added, because those are on a separate layer and there's your ladybug. We're gonna go ahead and group all of our ladybug leaders together, duplicate them, flatten, turn the originals off and just come to a layer underneath this guy. You can Now you don't need this anymore. You can make this guy wherever you want, and it's turned drawing. Assist off. Go to the jagged brush. Let's take the background down to this dark green right here and the color that we're going to use for this brush. If you go to that green and then bring it way up here to these neon greens, we're on the jagged brush and will go up really big to 16%. It just blab, like doing a few colors mm and then to happen. Hold the smudge brush and do quick short strokes, and it will be a nice little painterly feel. You can really see how those colors mixed together, so this brush is a little bit transparent, which means that you can change the background and it will make a difference that makes a little more dramatic. You could also go into hue, saturation and brightness and change the color of this background. I like it a little darker underneath the lady, but kind of makes a shadow look. And there's your ladybug 5. Luna Moth: All right, We're ready for the Luna mawf. And I found this great picture that I'm really accentuates that purple and has nice bright greens. Some of the lunar moth images aren't that green. And the purple czar that purple. I have my canvas set up like I showed you in the other video, and I'm on my sketch. What I'm looking at right now is the body. So this purple section crosses this middle part of the body and then starts to go up. But I want that little head showing right there and the body right here. I'm wondering if that's going to be a little too big. So when a select it, make sure that Magnetics is on and I can shrink it and it'll stay right on this midline the wing comes this top wing cuttings down like this, and then it curves up 45 degrees over and around. So take some time and get that sheep looking as close as you can to this. That purple part is kind of in there right there. And that kind of eyeball like that could do this antenna, zoom in and look really close at with those antenna look like they're little closer together than when I showed you here. And this bottom wing kind of comes down alongside the body. This part right here, IHS a lot lower than this section right here, Some to compound Don't about right here. I'm gonna come over, and I know it's not a smooth line, but those air details you can add later and it comes up and you can see it underneath that top wing. You can see it under here, and then it curves pretty sharply to go down. I'm gonna look at this sides, um, curly part here. - It's pretty close. This might be a little too long. You can select with magnetic on. We can just slide it up a little and then kind of fix our new points there that where they meet, I'm gonna go ahead and sketch some of these lines on because it's important to know the direction of those lines. These go over more and these come down more because we're going to do a bit of a painterly feel and we want those paint lines to go in that same direction. And the purple here is a little bit thicker. Then I've got it here. So when I make sure I got that nice and thick Oh, and we can't forget these eyes over here. I'm calling them eyes. I think they're supposed to look like eyes, uh, before self defense for the better fly. All right, there's our sketch layer. The body is on the bottom, and these two wings air on top, and And these are in the middle, so I'm just going to start with the body. I'm not going all the way down. Go Went up from there and I'm gonna choose this white right here. Although let's change our background to this gray so that we can even see that body. I'm going to Studio pen, and I'm just getting the rough shape of the body. You can go ahead and do the antennas. Well, go to that mustard and then just bring it a little bit brighter. Really. Studio pen down to about 15%. And just get some nice antenna up there, so I'll skip it layer in case I want to clip a mask and go to the next layer up, which is gonna be these lower wings. Go to this green right here. And then we're gonna bring it up to a brighter green closer to the white. But we're also going to bring this color towards the blue a little bit, so the greenest is a little bit less yellow, So I like starting with a mid tone green. Come on. The studio pen. And now I'm on top of that body layer. So you need to be careful where I draw. And I'm just gonna go ahead and pretend like I'm gonna be able to see that whole wing under there and get that whole then sketched out. I think I need to turn my sketch later down capacity. So this wing comes down the sides of the body and forgive me if I say Leaf instead of wing . I've been doing that a lot, and I don't know why. We're just gonna fill the whole shape and drag and drop. We're going to skip a layer. I know I did this a little bit different with the lady about that kind of completed each layer as we went, But I'm going to skip two layers, actually, and just go to a slightly lighter color so I can see the difference. And I am going to sketch right along where that purple is gonna end up being and the edge of the purple. The edge of that wing is gonna come down right here. For now. We can go ahead and turn our sketch layer off. I'm gonna go ahead and at the purple. We're gonna work on this top wing, so two layers above that, I'm going to turn that into a clipping mask. I need to turn both of them into a clipping mask. So I have to clipping masks above this wing layer. Here. I'm going to this purple, bring it a tiny bit more pink and then go pretty dark. I'm going over to my wide six p no taper in about 30%. You can see the purple tapers towards this edge and then gets nice and thick. Well, it could make it even bigger. It's okay if it's too dark or too light. We're going to be adding I turned my sketch layer back on so I can see where this is supposed to be. Go ahead and get bad on there along with a little curved piece that leads to it. I think that made that a little bit too big. And finally, there's purple along the edge. But I'm gonna bring it up a lot greater than that. While I'm on that bright color, I'll just go ahead and brighten up the top of this purple. If you look really closely at the inside of the eye, there's some of that brightness, and they're a swell. There's also some cream gonna come down in size here. We're being very imprecise here. A little too small Sorry for my noisy house. I don't know if you can hear what's going on in the background. There's some video games happening. Okay, so those were the colors that I needed for the I, and I'm gonna walk away from that and get the purple done for this bottom set of wings right here. So clipping mask, Colombian Ask. I'm gonna go back to that brighter purple because there's an edge here in a take of that sketch layer off because it really blocks my view of what I'm doing. Let's bring my size back up. That purple comes down pretty far. It's pretty thin section of purple and goes around on a lot of them are a little different than this. So it really just do whatever you want. Schedule your back on so I can see where this eye is. I'm gonna go back to that dark purple, schedule your back off and I have that creamy color and the white. There's a dark stripe in a pink stripe, so I'm destroying what I see here. Creamy koei white, that brighter pink open in there. Good enough. All right, so now we just need to have fun getting some more painterly. Look on here, and that's why I saved this could be masked. So we'll be working underneath the purple on this lower set of wings and underneath the purple on this upper set of wings. So let's start with this upper set will go to this green that we have here and let's go a little bit more gray. If you look over here, it's got some grey green there darker and gray er, and we're going to the spring class brushes to jacket brush to about seven or 8%. Go back to that green and go little brighter. And Dr and this is all just up to your own interpretation. This is not photo realistic. Once you're kind of gets, um, at least three colors, shades of green on there, tap and hold this much brush and bring that also back down to seven or 8%. And if you remember the lines, the direction of the lines that go out towards this edge here I'm going ahead of both directions and just having fun, mixing those paints. But keeping it in the direction of the lines that the wings go in. Going to do the same thing down here could be masquerade above. It looks like it's much darker in here, and then it's gonna be a darker around here. I'm going up to the white. It's pretty light up in here. Get some light in there. It's also pretty light down here around this bottom by the purple. I think I like that. So just gonna start mixing that this time my strokes should be going. More up and down will be any more details later, and I want to have a bit of a shadow between the two wings there. So I'm going to go above all of those clipping masks on this lower set of wings. Add another clipping mask. Said it to drawing, assist. Turn the blend mode to multiply. Choose this great color and we're still on the jagged brush. But we're gonna come down pretty small, like 2% and just go in the same direction. Is everything else on that leaf leaf on that wing And, uh, good little shadowing in there? I'm going to go back to of the green colors that we just mixed around and choose this teal . There's, um, some little teal highlights on here, so I'm just gonna add those. I don't want to mix them in too much, though. So added them last. Same with appear. I don't even think I need to blend those. And then I want to give that appearance of having being able to see the the wings underneath. So just in case I don't like it, I am gonna go on a different clipping mask, and that clipping mask is going to be on top of the green smudgy one. We just did turn on drawing assist and go to one of the really light greens and just bring it up even lighter and then pretend like you can see that wing under there, That kind of gives the illusion of being able to see through. Okay, I want to add a little great on our body, and it could be mask on top of that body layer. Go to that gray. I am going to turn the drying assist off. Apparently it didn't turn the dryness. It's tough. So during assist off Goodson gray smudge, is it a bit of a free look? And that's your your basic lunar lunar moth. I want to get this curled edge on here, but what I'm gonna do is just add a layer to the top of everything, and I'm not making it a Colombian mask. I'm gonna go to this cream color, but I'm gonna bring it really close toe white, and I'm going to go to my six beef taper. Now I can draw anywhere I want, so have to be careful. And I'm looking at the edge of hopes. I need dryness ist on. So it's doing it on both sides. So that kind of gave that curled, um, wing tip down here. That curled look kind of accentuated it. Any other highlights? Like I sealed it. Nice little ridge along the edge of this wing. That's nice and bright. You can do it as a clipping mask red on top of this. But sometimes it's nice to have the freedom of being able to go off of the mask off of the clip, and it also kind of covers that super crisp, sharp edge of the base layer that we did with Studio Pen. And there's your lunar MMA. 6. Luna Moth Moon Background: I actually want to show you them moon background. So let's group all these layers together duplicate. If you don't have enough layers to duplicate, duplicate the whole file to do that, you go to the gallery and he's swipe left and you can duplicate the whole file. I'm gonna turn off my originals and flattened my duplicates Turn off my drawing guide and bring my background all the way down to this navy. I'm gonna go ahead and turn my mouth off and I'm going to add a layer underneath everything . Go to this white right here and go to the painting section of the brushes to Nico rule Really big size. But it snapped to a nice shape there. Then fill in the rest. I am going to smudge it with my jacket brush just two. Although this is a nice moon. Look, actually, so, um, I'm just gonna keep that kind of painterly look that the jagged brush gifts and oops, go to the airbrush large, the soft airbrush, and I'm just gonna go toe layer under it and give a bit of a glow. And then I would go ahead and choose some some black go to the jagged brush and, um, do some painterly look for the background of the sky. I would have it darker, the brighter where it's closer to them out and darker as you get further away from them and then turn your lunar moth back on So you could be just done just like that. Or you can go to a layer above the lunar moth. Turn it to ad the blend mode, toe ad. Go to white, go back to the airbrush and just softly brighten up some of the wings Over here kind of gives the illusion that the moon is shining through the wings over here. And if you wanna brighten up any edges, you can go around. Haven't been given that the mawf a bit of a glow. If it's too bright or you went a little too heavy with that, you can erase some of it, or you can turn the opacity down. Have fun 7. Dragonfly: All right, We're ready to do a dragon fly. Got my canvas all set up on vertical symmetry, and I found a great top view of a dragon flight. So I'm going to make it a lot smaller than this. Go ahead and shrink that down. That zoom in on just this head, thorax and abdomen. Here you look at the eyes shape. It's almost flat down here and then curved over here and then kind of flat where they meet . Not quite flat bit. And then it almost like like a little hat on it. I don't know what part of the Dragonfly about actually is. The legs come out from in that area, come up right there on out again. We're not gonna worry about drawing these other two sets of legs because it's just too busy trying to show them underneath the wings. Actually, we're doing a very painterly dragon fly so we won't be able to see under the wings. Anyways, I'm guessing the thorax ends right here, and it kind of is a bit of an hourglass look. So something like bad. And then the abdomen comes out again, back into a narrow spot, right? here and then out again and down and little pointy ends there. This looks like it might be a little big compared to how long the wings need to be. So I'm going to select it with magnetic on. I can shrink it. Have to be careful not to sit there for too long with two fingers on it or it's going to try to undo for the wings. They both connect right up in here, right here and right here. So kind of right here and right here this bottom when curves along that bump there, we're gonna start with the top window. So the top one, his, um nice curve up and over. Then it dips a little bit and comes back up. Down here comes down, over and up. Let's have them meets pretty far out here. The next wing does not overlap. This swing seems to come down this way more so I'm not sure how it ends up meeting up with this spot. That's okay. We're not worried about those details. This wing comes along the bottom of that and then comes down. We already did. This lower part curves around. It's a little bit whiter from top to bottom than this one is. They both come out almost to the same spot. It's little narrower on the tip, something like bad. So spend some time getting your sketch. Just how you like it. I am not going to sketch all the veins. So as faras, all these abdomens sections were not going to be precise and count and get them all in the right spot. But just so you definitely get some abdomen sections on their you should make a little uh huh sketch of that. All right, so let's turn that layer down and I'm going to fast forward through filling, and I'm gonna fill this whole section on one layer, and I'm gonna put the wings on another layer using in my studio pen. - All right. On clipping masks above the wings. I am just gonna have fun with the jagged brush and some bright colors on about 7%. - If you want to go ahead and add some veins to this, I'm gonna delete some empty layers. Here. You can go to another clipping mask above the wings and go to black, maybe go to my six people, make it very text ary. So if you want to just go to Studio Panne on a pretty small size, then you can and maybe bring the reference photo back out to get Sun ideas for where all those lines should be. I remember there were some dark spots here, in here and at all the details you want with a group. All of those together duplicate flat, turn the originals off, turned my drawing guide off. Not sure what I want my background to look like. I really kind of liked that white turn off drawing assist on a couple of layers down here and then have some more fun with colors down here. I would probably just make sure you're using matching colors. Um, that go well with the colors you've chosen for your dragon flight, and I, of course, would. He's jagged brush, but that's just me. So here's when I did. It's a little too much blue in my opinion, and this one's a little too dark, so maybe a light background would be a better trace for this one. All right, there's Dragon play. I would spend a lot of time on the sketch getting that sketch down will help with the overall look. You won't. It won't matter what you do with this painterly look for the whole thing Asada's. You have that sketch down pretty well, then you've got it. If you want to make changes later to the shapes before you rotate it in, all of that, you can go. You can go to the black layer of the wings, and the body can do this whenever you use a clipping mask. Say you want to make this body narrower. You can go to that body goto eraser on the studio pen and make sure assist is still on. And then whatever you dio to this. For example, if you wanna, um, make those segments a little bit more noticeable, you can change the shape of of these base layers and that could be masked. Just follow suit. All right, have fun 8. Butterfly Overview: I wanted to show you how I did this. Better fight basically the exact same way here. Let's let's go ahead and, um lightened that background. So the same way I did all the other things, but directly on top of the black layer, that was kind of the base layer that we clipped everything to on a clipping mask above that withdrawing assist on and with the sketch on. So I knew exactly where my sections were. And, of course, with my reference photo off to the side. I went to the jacket brush and I was using these reds and oranges right here on a pretty small size, and I just blob on truly based on the reference photo, I saw some brighter oranges and some darker oranges that red I brought down pretty dark. So I blogged on all this sections, and then I went through and smudged them carefully to give them that painterly look. If you don't like that rough edge, you can kind of do a little swirl around. I really like the black showing through, makes it look a darker color, and then wherever I got too close, um, if I if I wanted it to not have that look of being them kind of blended together. Then I could just on that same smudge on a smaller size, I could come in and just kind of move the colors around to define that black space somewhere. You can see a smeared around on here, but I'm not going for photo realistic. So that was OK to me. I you know, the white spots are just approximately in the rate spot, and I really just, um, looked at the reference photo and just kind of in general made bigger white areas here because that's what was on the reference photo and smaller here and some gray er areas here and on the body. I haven't been doing this in the other tutorials so far. I did turn off drawing assist so that I could just shadow one side of the body without it being symmetrical. So that's something and then highlighted the other side so I won't go over this whole illustration because it's really the same as everything else. It's just you have thes sections to kind of contain so and of course, you can do this with any better fly. I love it 9. Flower and Bee: for the B very, very similar to the other insects we've done this week. I did use a low opacity, um, setting on the wings. That's why we can see through them. So I just did a solid, very light gray with a clipping mask that shows the veins. And then when you turn the light grey section down in opacity, that clipping mask also goes down in opacity. Um, not the not the layer itself, but the look of it matches the opacity of the layer that it's clipped to hoof. It makes sense. And to get the furry outside edge of this section, I didn't use a clipping mask so that I could go outside the edge of that thorax. And I did the legs very similar to the Harry ladybug legs with no clipping mask. But what I want to show you is the flower. The flower just kind of evolved. So I started with this deep red I've been using. I really should just put it in the palate, but I just go to this and then I just kind of bring it over here. And I did it all with jagged brush. No, no drawing assist said no symmetry for this flower, and I just wanted to figure out where this middle of the flower was gonna be, and it was gonna be really big over here. I'm just gonna color cause I know that happiness annoyed. So start with a nice, solid color. Whatever flower you want. Look, a close up picture of a flower underneath that I went to this pink and I just started to think about the pedals. So here's a paddle. This might not look like the flower that's in the other illustration, because I really just figured it out as I went. Here's a pedal and here's a pedal. Maybe they overlap. Okay, I know that there's probably more layers of petals underneath there, and they would be shadowed so they would be darker than this pink, so you can just go ahead and make the background a little doctor. But I would also go ahead and darkened even more. This color right here. So this is the illustration where I just kept adding and adding, and eventually I liked it. So let's go back to this pink layer. I'm not using clipping masks. I'm just adding right onto it. It would be darker where it's going into an underneath that center of the flower blend with that same jagged brush again, keep going and going and going for this center, I you could just probably stay on one layer. Um, let's go ahead and do that. I just kept adding colors, So I went pretty purple at one point and went really deep purple around these edges. Maybe a couple purple spots in here, too, but mostly around these edges and maybe even deeper. I actually don't remember all the colors that I used. I know I used some of this bright red The center is going to be more of a mound, so it's gonna be brighter up here with the smudge on that same brush you can just kind of tap and it mixes it without smearing it, which is what I was doing this whole time. If I liked a certain look along the way, I just added a new layer on top instead of continuing on that Sam Blair because I don't want this to get any more mixed than it iss. So go up another layer. I know I went to this bright yellow on a small size because I wanted to get the look of some pollen. R B is going to this flower, and it's going to once and Paul in, and I just kept going and going and going, so that's pretty close. Eye kept it darker around the edges on and lighter up towards the center, and it was all with the jagged brush. Once I added the B, I felt like it looked like a clipping, like I'm sorry. It It looked like a clip art that I just put on top of a flower. So I wanted to add a shadow underneath it and keep the painterly look and not use an airbrush. So I went ahead and blabbed on my layer is using a grey, probably the greatest center palette I don't quite remember, and it's on linear burn. I used the same brush we've been using this whole time, and I had to be there while I was doing this, and it just started to blob on some gray around the legs and the abdomen and just kind of get some darkness using a clipping mask. I mean, using a layer a blend mode will help it kind of match the colors. Um, so it's lighter over here, where the pink is light. It's darker where the pink is dark. It's also darker where this center area is dark and it took me a while, but I eventually kind of I realized it wasn't looking like a piece of clip art on top of the flower any longer, and I liked it Here. You can see my pedals are overlapped a little. I just did that at the near the end. You can kind of add a little white, um, edge to a flower petal or two, and that's it. So that's how you do the B and the flower. I can't wait to see what you dio. 10. Spring Mandala: We're doing one more thing with symmetry, and it is a totally different symmetry setting. I'm going to go toe black and I'm going into my monoline brush and just a super small setting. Go to the wrench tool. I am on a square canvas drawing guide and it drawing guide symmetry options and then go to radial symmetry. I'm gonna go ahead and change my color to black so you can see it better tap done. And now you have a canvas that's going Teoh do way more than the vertical symmetry we've been using. So, for example, if you go along one of the mid lines, you can easily do a flower petal. Another way to do perfect flower petals is to do one set like this. Duplicate, select. Make sure Magnetics is on and then rotate. You can combine those duplicate again, select again, rotate again, and then maybe you want to erase part of it so you don't have all these little overlaps inside, tap and hold the eraser and I'm erasing. Before I merged these layers. I like to do things on different layers as I go throughout the campus, and sometimes I end up merging them later. What I would like you to do on this illustration is think back to the three weeks of spring illustrations that we've been doing. You can even go back and copy one of the sketch layers. So I have so many of each of these because I've had some technical difficulties. So, um, go back to the sketch layer. So not select. Sorry. Copy. I'm just going to get the umbrella three finger swipe and paste. So you're welcome to go ahead and put this whole administration on your mandala Mandala. Whatever you wanna call it. I'm going for the umbrella, and I'm just thinking about where you want to place it. I want to show you why I'm really worried about this. So if I place something right here, I get eight of thumb. I don't know if I want eight umbrellas. If I straddle this midline, I only get four of them. So I kind of like that. Although eight kind of makes it look like a flower. So think about where you want to put everything and think about what you want in this illustration. I think I'm gonna trace the boots as well I think I'm going to trace the whole thing. So I need to go to a different layer. I'm going really small on that model and brush. Yep. This is just the sketch Lier So And then let's go ahead and just clear that layer. That's pretty cute. So you could grab any of your You can grab your butterflies, your luna mops grab any of your sketch layers, just have copy and bring him in and place them where you went this since this one's symmetrical. We complacent right on one of these lines. Well, maybe we can put it right here in the corner and what you're doing, I need to turn Magnetics off because it's not. Let him. You get it exactly where you want it. I'm gonna fill all these gaps so I don't want to. Just a tiny gap kind of a medium sized gap. I wanna make all my that's quite small so that I can place other objects here, maybe make the butterfly a little bigger. So you're going to continue to fill in your spring illustration mandala and to color that once you have everything all in one layer, you're just gonna treat it just like we did all the other illustrations. So you'll need to have your sketch layer with the opacity turned down and you'll have a whole bunch of layers that have the drawing assist turned on. You might decide to use could be masks just like we did before, exactly like we did with the other illustrations. Or maybe have the jagged brush painterly Look for the whole thing. I would plan on trying not to use the actual outline, but if you do a really great job on the outline, um, final outline, you can definitely make it look like part of a style of illustration with an outline drawing on it. So I'm gonna show you, um, what I've done on one that I've been slowly working on. I kind of veered away from my outline because I only had one boot. They would have been facing each other and I decided to move my boot. Ivan did a flower layer, just like in our boot tutorial. So I'm just I'm just doing a painterly look with all of it and illustrating in the same way that we did. I haven't done any clipping masks on this yet. So I don't have a painterly look on the dragon fly or this flower yet, but I'm getting there, and I'm really excited. Now, I'm more excited about the other one with the little girl with the raincoat. So I'm gonna keep working on this, and I can't wait to see what what you do for your mandala. Happy spring could do a bird, too. 11. New Downloads for Week 4!: for a week three. At the beginning of this current class, we didn't have any new brushes to download, but now I have quite a few. So you will see in the resource is Section jen's Gen Spring week for Go ahead and go download that. And if you want to go ahead and put them in the Gens Brushes section, I'll show you how to do that. So once they're open in here, he just swipe right on all of them. Tap on Jen's brushes, maybe go down to the bottom lips I just tapped. That always adds another brush to the list that I have in my hand. Yeah, so I ended up moving this brush way down so I can tap on that and drag it back up to where you wherever you want it. And then all those new brushes are right in there, and you can go ahead and delete that new brush category, and then we still only have those to brush categories to go between the native brushes and then my brushes. So this should be all the brushes for all four weeks of this spring class. In the new brushes, I added 1234566 nice textures and to basket weave textures. Thes. Others air for kind of just overall textures and then some fund dot brushes. So I'll show you really quickly what the's brushes look like. This is the fuzzy edged dot, which means it has a solid dot with a fuzzy edge. And this came about when I was using my large monoline brush to make dots for some flowers , and I just didn't want that super crisp edge. So I came up with that. And then you can also use the dot Bresch as a brush. It is pressure sensitive, and we will use that in one of the lessons. Go ahead, put one more dot on there's we can compare. The fuzz dot brush is just these little wavy lines, but no solid center. It's also pressure sensitive, and it can also be used as a brush. So if you want consistency with your size, use your finger and whatever size you have, it's set to it will be the same. Your finger doesn't allow any pressure sensitivity on the brush that comes in handy sometimes, so just want to make sure you know that, and then the fuzzy dot multiply is the same. It does have a bit of, ah, transparent kind of color filling in, but not solid like that. And what's different about this is, since it's a multiply brush. Every time you tap it, it's going to get darker and darker and darker. I've been playing around with it, just getting darker and darker to the center, so that does come in handy for certain things and also can be used. This one is not pressure sensitive, so it's just one size. So you saw when I did this one. I just changed the size with every tap, making it smaller and smaller so it would get darker and darker towards the center. I'll show you the basket brushes in one of the tutorials, and I want you to make sure you go grab this download in. The resource is section as well. I just made a nice little guide for making some super easy, loose florals and leads, so we do this a lot this week. We're doing a bicycle with flowers in the basket, a watering can with flowers around it, although you could also do flowers in the watering can and some containers for outdoor garden pots with flowers in them. So this is a fun way to just add some simple florals and not worry about spending hours on flowers. 12. Vintage Bicycle Pt 1: before you start this tutorial, go ahead and go check Google images pics of a whatever you want for images and look up old bike or vintage bike and just find a favorite look for a bike. Go ahead and open a 10 inch canvas at 300 d. P. I at a bench of layers, and I'm going to select from the spring Pantone this pink four brushes. I'm going to the six b No taper white and I'm going in pretty big. Let's do 70%. Actually, I don't need pink yet. I need really dark gray. I went ahead and added a dark Dr Grey on my palette over here, so you couldn't go ahead and do that? We'll use it a couple of times in this illustration. We're gonna do the tires first. Pretty big tire. Make a circle. Put your finger on once it snaps to a circle ish shape. If you put your finger on it will make a perfect circle. You could still adjust the shape here. Go to a clipping mask above that, and either go to this white or go to this cream color and go really close toe white and do another circle approximately in that circle. Let it snap, tap your finger and get it to about the right size. You want it, You can change the placement of it in a second. Move it around. I'm gonna go ahead and change the background color just a little bit so we can see what we're doing here. And I am going to one more clipping mask above it. I'm going to, um, flatten this down to one layer when I'm done. But for now, I just want to use clipping masks and to one more. See if this one has it. I'm just kind of doing one little tiny grey rim on the inside. That way, if you have a white background, it'll just make the tire stand out a little bit more. It'll make the white wall stand out a little bit more, So you just kind of make a messy, sloppy circle. Let it snap, tap your finger, select it, moving around underneath all of that. I am going to stay on this brush, stay on gray and find a small size that I like my spokes and a bright that background up a little bit more So that is at about 20 ish percent. You can find the approximate center and just go from there and make some very fun. You know, very hand Iran spokes or you can disco straight across, let it snap to a straight line and get in the perfect place. I am personally going for more of a hand drawn look. So I am letting the lines be a little bit wavy, not perfectly spaced. And now I am shrinking all of those together, not shrinking, flattening. I'm gonna duplicate that tire, Select when make sure Magnetics is on and then you can just slide it directly across. So if you're trying to judge how far away those should be, you can kind of approximate that and I'll leave them on separate layers for now so we can make adjustments later if we need to. On a layer above that, I'm gonna go to my bike color. Choose whatever bike Hillary want. I'm still on the same brush. I stay on this brush for most of this class. I'm gonna go to 70% ish. I'm on this super bright pink, but I actually went to just kind of bring it over towards the gray. A little tiny bit. All right, I'm looking at the pink bar that has the handlebars on it. It kind of comes down at an angle right to the center of the tire. The bar that has the seat on it comes down also at an angle, and then we're gonna make a structure bar that just kind of goes down and back to this books. Over here. You can't really see exactly where that bar ends up over here. But approximately right here swooped down and around. This bar has a lot of different possibilities, depending on the photo that you chose. And I think we're done with this really large, chunky size. So I'm gonna come down to about 43% and I'm going to layer underneath that bike frame, and I'm doing the hubcaps, not have cats fenders. This land is pretty much all the way around the top half. I am gonna let that snap into place for a nice, smooth half circle there. And this one is just kind of maybe the top quarter. I think I want to not have thes two bars touch each other. I actually like that Look, I like the look of the fender covering that wheel a little bit, just like it does in the picture. So I am going to move this one top, select and just laid it down a little bit free form, and you can change it this way. Now, there's little tiny bars that connect those fenders. So let's go to a smaller size and just put a little bar. I'm not gonna have it go along the same line as one of the spokes, and then I'm just gonna go ahead and go back to the bike frame layer and add This little support bar here is well on a layer. On top of those, I will add the little chain cover so we can go back up to about 40%. And what I'm gonna do is just make a bigger circle right here, color it in and a smaller circle back here. And then I'm gonna draw along the top edge of that small circle to the top edge of the big circle, the bottom edge of the small circle to the bottom edge of the big circle. And we're not worrying about drawing a chain We're just pretending that this is the contraption that kind of covers up that chain on top of this chain cover. We're gonna go to great come down to about 25% and we're just going to make a simple little pedal. So a little short line back to her black tire color underneath the bike frame layer. I'm going back to Gray. I'm gonna go pretty big, but I want it to be skinnier than the bike frame itself. And I'm gonna draw the post and the post that comes up for the handlebars. So the seat post is a little taller in this picture. You'll have to look at your own picture and see what it's doing now. The handlebars were really tricky for me for a while. Basically, what I'm gonna do is draw sideways, skinny you. But then I'm gonna have this top part of the you look like it's bent down, so it's gonna look like this, but the top heart is bent down and that bent down part, this is where it attaches to the bike. It might be worth it to draw on a separate layer so you can move it around All right. So we have the gray here and the gray here, all on one layer on a layer above that. I'm gonna go to the brown. I'm gonna go a little darker. This brown is a little bit too light, and we're gonna draw the seat, and then the little handle covers. So the seat iss I just couldn't have something whiter in the back and skinnier in the front . They handle covers. Just need to be a little bit whiter thinking about them slipping on over earthy metal. And there is your basic bike. Now we need to spruce this up and texture it. Oh, and we need a basket. This is a great layer to go ahead. Endure basket. Going to stay on this state, brown. And I'm not showing any sort of details like how the basket is connected to the bike. So just try to get some sort of bike basket shape on here. I like drawing it a little whiter on the top. Little narrower on the bottom. This will have flowers in it, so I don't need to worry about what the other side might look like. And now I'm going to add clipping masks everywhere. So clipping mask on top of this brown layer, I'm gonna go ahead and set it to multiply. And the bike tears are fine the way they are going to go ahead and merge those two layers. And actually, you know what? I'm gonna go ahead and put a clipping mask. I want to do stuff with those spokes, a rate we need a bit of shadowing before we do anything. So right now I am wanting to show that we have some layers of pink instead of this all looking like one layer. So I want some shadowing on the bike frame right here and here around the chain cover. So if you go to the bike frame and two fingers wiped Alfa luck that go to the pink we were using And just Can you come down to a darker pink, then on the fender layer to finger swipe to Alfa lock that same thing, we're gonna have a little bit of shadowing hopes that bar is on a different layer, a little bit of shadowing by this post and down here, where it kind of goes behind this. I need to go back to our frame and get some shadowing here. Just a little bit back to the fender layer. You think we have a little overlap right there? So just try to find where what would be behind something and put shadows on that. All right, back to our pink that we used for the bike. If it's not in your history or if you don't have a history, you can just tap your finger on this screen. Get that pink. I am on the could be mask above. Let's go with the bike frame clipping mask above the bike frame. I'm gonna choose my grunge streaks brush. This bar right here is also part of the bike cream. So I'm gonna make sure you get some streaks on there. I'm going to turn the opacity down to about 70%. That gave us some nice texture without it being too drastic. And I'm going to do the same thing on my other pink layers. So the clipping mask above, I think we can get rid of this. The clipping mask up of this chain cover Turn that opacity down the clipping mask above the fenders. I'm gonna go kind of in the the direction that offenders go for this one, and we'll turn that one down as well. The clipping mask for the gray spokes and the posts. We're going to go ahead and start out with the gray we started with. But instead of letting it go dark, I want to see if I can find a blend mode where it's lighter screen. Yeah, and I'll do the same things. I'm going to put that on screen for the spokes down here. All right, The clipping mask on top of the basket seat in handles. I like this tiny hatch marks. I'm gonna go to this cream color butting in and just kind of make it whiter and a little bit more towards the grey. So I'm unable to play, which means my light color is not going to work. So well, I'm gonna clear that. I'm gonna make it light, but I am gonna just fewer hatch marks on it. And for the basket, we're gonna go down to the texture basket wide, and I'm going pretty small, like, 2%. I'm gonna turn my canvas a little bit, actually need a new clipping mask because we need this clipping mask to be on a different blend mode. So we'll start with multiply and we'll just go to this brown and I'm filling in a lot of area around this basket because I want to Now go to the liquefy tool on push at about 30% and just kind of move the basket around a little bit and zoom ins. You can see that it just gives it a little bit more of a natural look instead of just straight across. I'm gonna lighten that texture a little bit about 77% and I think I also will go ahead and Alfa lock the brown base layer for this and go to a brighter color. Go to my damp brush and this gets son variation on that base layer. Highlight this kind of rounded basket area. It would be a good time to go ahead and get some variation on. Many of these brown parts could do a darker brown. You can do the same thing on all of this so you can go back to this alfa locked layer. Go to the pink that you were using but go a little bit, maybe darker and gray er and just get some variations on that base layer. It doesn't affect your clipping mask as faras. You know, it's not gonna make your clipping mask away. It might affect the color of your clipping mask here and there, and it just adds a little bit more dimension. You could do some highlights as well. The next thing I'm gonna do is go to a layer that's not a clipping mask above everything else. Go to you can go to this white or again. Go to this cream color and bring it really close toe white. I'm gonna go with my six B at about 30% and add some highlights. Since it's not a clipping mask, you're able to highlight everything. 13. Vintage Bicycle Pt 2: I'm gonna go ahead and group my whole like together. I'm gonna duplicate that group. So I have the original interning off and then I'm gonna flatten this bike. That way I can keep it on uniform. I can, you know, just the size. And I still have the original with all the layers. If I want to go back and make any changes for the background, I'm going into this cream color again, going really close to wait, going to a layer above that. And let's try this cream color and goto multiply. We could change this later. Come down to one of my texture. Brushes like this Grinch texture play around with blend modes. If there isn't one that you like the look of you can just go into hue, saturation, brightness and play around with the color of that background. So there I just darkened it to 41% and it's on multiply going down to about 68%. And then I'm gonna tap and hold the eraser. So I'm on that same brush for the eraser now. And I went to, um I only what? This grungy texture mostly around the edges, Some very lightly, barely touching the pencil and just going around to erase some of that. If it's easier to go around with, be airbrushed so that you don't have a rough edge, a hard edge where you've erased that's another option. All right, fresh layer. Go to the rich tool and canvas drawing guide. Edit. Drawing guide, symmetry options, quadrant Rotational symmetry. This time we've done a lot of symmetry last week, but this is the first time we're doing rotational. And that just means instead of things being a mere image, they will be all just going in the same direction. You don't necessarily need the guideline, but I'll just leave it up there. It's a nice grid, and then this is just going to be a bit of a guide layer. I'm gonna choose Gray and any anything that draws a nice line so it will draw a little guideline for the border. Just let it snap to a straight line and get it approximately square. Turn the opacity way down so you can just barely see that and then go to a new layer and turn on drawing assist so that the symmetry is working and then pick the color you want for your border. We're gonna do just a simple leaf. You can do whatever you want. And flowers. Anything I needed. Choose this blue. I'm not sure this blue is showing up very accurately in our video. But you have that in your palate. It's a nice deep marine blue and just kind of get the the kind of base for where you went the Viney foliage debate. And now you can turn off that guide layer. I'm gonna go ahead and actually turn off the drawing guide. We really don't need that. You make the call, how you want those leaves to look. You can, um, have some of them pointing this way and some of them pointing back this way and have them going all around the same direction. But what you're doing is just adding a nice little leaf border. Very simply, I'm going to do little teardrop shaped leaves. You can add some text in here, go to the rental ad at text. It's time for the flowers. I am going to do multiple layers, a combination of flowers that kind of hang down in front of the basket and in front of the handles. And then, of course, most of them will be behind the basket layers so that thes stems can just hide right in the basket. I'm gonna go ahead and just bring Let's bring our original bike way up to the top and have some layers above and below the bike, since that has the basket on it. So the layers above the basket will be the flowers that will hide some of the handlebar in basket. I will erase this later. - I'm actually going to move this darker green layer down under the bike and then this green layer right here. I think I just want this one sprig to be covering the handlebars. So I selected the rest three finger, swipe down, cut and paste. And then I could move that down as well. So what I've done there is I've given one of those green sprigs the ability to come and cover part of the bike, and the rest are in the back. May read P any type. Flowers are kind of really out there right now, but I have a lot more flowers to add. I want to do some yellow inside that yellow I'm going to go back to this golden and come down in size and just do some little curls. It just gives a little indication of some flower petals. Got another layer? I'm going to this white. I am on a layer in front of those red and yellow flowers right now and I am under the bike when you come to layer actually above the bike so that my daisies can come down here on top of the daisies. I'm gonna go right back to this gold to put that center. And then I think I'm gonna duplicate that daisy layer and bring one of them down underneath the yellow flowers. Select it, flip it horizontally and move it around in turn, Magnetics off. If it's not letting you put it right where you want it, we can a little smaller rotated. You can add all sorts of very simple texture to these in the same way we did texture down here. And also you can do a clipping mask on top of this layer. Make sure drawing assist is on and adds some texture to that as well. So there is your vintage bicycle 14. Watering Can: go ahead and Google some images for watering cans. Find a favorite old vintage or shiny new watering can. So I believe this one is on picks. Obey. I like the nice, big bulky handles, and we're gonna give it a try. We're probably going to do different colors, but this will be our inspiration. We'll go ahead and go to that gray and six be No taper weighed. This just looks like a cam. So if you're not used to drawing a cylinder, you're gonna do straight lines on the sides and a very slight curve. This curve right here is the same curve is this you decide. If you want to let the line snapped to a straight line, have a very perfect look or if you want it to be more hand drawn, similar curve looks a little bit of a domed top. And then for now, we're just coloring this whole thing in on the same layer. I'm going to go ahead and do this poor spout starts way down here at the bottom. Let's go over this way and it comes up above that dome area and I'm gonna go ahead with this on a smaller size and do this kind of just a c and then an oval on a new layer. We can do the little support thing, the handles and this layer is above the other layers. So that's good. I am going to go just a slightly lighter color so we can see the difference where it's overlapping. And this really just goes straight up curves a little bit and come straight back down. So if you're if you're looking at the can, this is not in the middle. It's to the left, and where it comes down is to the right of the middle. So if this is the middle, it's gonna come down over here. It's gonna come up from right here, gonna go to a bigger size so we can have a nice and bulky chunky handle. Here. Cam humble over here is a little bit flattened skinny, and this base is a little bit whiter looking because we're looking at a slightly different view of it here. We're gonna we're gonna hide this later where it overlaps the can. Same with this section right here. So we're not gonna worry about that yet, and and this little support beam. What does do something simple rates. We have our to layer very basic construction here. Let's make a clipping mask of each of those layers and let's go ahead and Alfa lock those layers. I want to go to a darker gray. Go to my damp, brash I'm on the clipping mask above. I'm on. I'm on the actual layer of the can and I just want a add a little bit of shadowing here. So when a shadow the sides, it'll help make it look a little bit more curved later on a shadow underneath this spout. I'm not trying to make it very smooth, and when it very textured, we'll go to a pretty light gray, get some highlights and do the same thing with Alfa. Lock on for the handle. So I'm on the lighter color, and now we'll go to clipping masks. So the clipping mask above the can let's go down to a grungy texture. Go ahead and go to black. Well, well, that's a little too dark for me, so I'm gonna bring it up to more of a charcoal. I'm going to add a clipping mask underneath that just by doing that it automatically became a clipping mask and I'm gonna go to a detail brush. Let's just go to the six p and let's get some of these little details on here. So we have a little bit of a rim here. We have a little bit of a rim here, and then we have the top of that rim and I am going to Dirk in this area right here. It's just indicating that that's how we get into add the water. We can add a nice detail over here up here and then we're gonna draw an oval. We're gonna go to a lie gray and draw an oval up here. We're under that texture layer. So even went up toe white. Since that texture layer is so dark right now, Now I'm gonna go to that texture layer, and I'm just gonna go to just my damp brush and just kind of erase some of the texture off of the top here so we can see it better and go back down to that. Could be mask underneath it. Go back down to a darker gray and add another oval in the middle and then add some guts, maybe even go darker for the dots for where the water comes out. I'm going to add another clipping mask and go back to textures, come down in size a little bit and just add a little bit of light texture here and a little bit of light texture along the top of this may be a bit there and maybe that dome area. And then let's go back to the eraser on the six B. Now let's actually go to the airbrush eraser. We're gonna fade out, erasing the edges of that texture that we just added. So it fades in a little bit more to the darker texture on both sides. I just gave it a little bit more of a curve. Look, now I want to focus on the handles so we'll go to a clipping mask at Buff that there's not a lot to do. I want to do Sam. Very dark areas right under here is kind of dark. Right under here is pretty dark right down here is pretty dark, and then a little around this flattened part that's attached to the can. Now we'll go really light, almost toe white, get a little highlight, Highlight and highlight. Very faded. Highlight here. Now I want to go to this base layer and tap on that layer and tap mask that's adding a layer mask to this. This so I want to make sure I'm on solid black and I want to make sure I'm on a brush. That is gonna, um, color in with not a lot of texture. And I'm basically going to be erasing without actually erasing. So wherever I add black to that Colombian mask is going to make it look like I mean racing the handle here, but the whole handle is actually still there. So if I make changes later to this cam shape, for example, then I can also make changes to the clipping mask and expose more or take away more of this handle. I'm gonna leave this overlapping the can because I think that is actually how it's supposed to look like when it erase this side. And I'm really just going based on my photo. So you go based on your photo, I'm gonna group my can, gonna get a couple layers above in a couple layers below, and we're gonna make a fun floral illustration here underneath. Well, first of all, let's make it a nice blue sky. Do you want to go to this blue to make it easier and then bring it way up towards white? That works, and then on a layer right above that, we're gonna go to that green and then bring it up Quite neon. Go to the damp brush on a pretty big size, and we're gonna fill the whole bottom and green, and it's gonna have a bit of a water here. Let's get rid of this. It's gonna have a little bit of a watercolor relook back here. I am going to Gen. Inc. And we're gonna play around on new layers. We're gonna play around with some leaves and grass, mostly grass. Let's go on a layer above the pale. For now, I'm on 30 something percent, and I'm going to duplicate that and drag one of them behind the pale lips. I just made a group slip it, make sure Magnetics is on and just drag it up. Duplicate that, flip it again, dragging around. All right. I'm not going to flatten these layers yet. Well, if you do maybe just keep the original. This was my original right here. And just keep that maybe label it original, if you like. Time to add some flowers. I'm gonna go on a very top layer. Go to this white right here. I'm still on my ink brush. Pretend like you know where the middle is. So go to a really light gray alfa, lack the flowers and just get some gray in the middle Here. Just gives it a little bit of depth underneath the yellow that we're about to dio. And now go to the yellow a man. Let's just give this a little bit of shadowing as well and do it a little bit of a Dirk streak along the bottom, maybe up the side, a little bit and a very light highlight. A swell. I'm not even going to bother with stems on these, and I'm gonna duplicate these as well. Flip, rotate, shrink. And as you can see, you can go on and on and on, adding all sorts of flowers. Go back to the bicycle illustration where we did the flower basket and get some ideas for some really fun, simple, loose florals. You can go ahead and at some text up here is well, I'm gonna add some texture. So I want to go underneath that grass solid, swirly layer back there and go to white, and I'll just go down to That's stupid overall, blotchy late. I just added a nice texture back there. You can see that I can really clearly see the base of the water pale here. So I'm gonna go on a layer above the water pill and just choose one of these dark greens and go back to the damp brush. I just can't hide it a little, cause if it were sitting in the grass sitting on the ground, it would kind of be hidden down here. Does your watering can? I wanted to show you another one. I did. This is the one I did when I was practicing. I used the grunge streak brush and got some really great texture on their and this one had capri handles. And so I he used some copper tones on there and then did some other other types of flowers more than just the daisies 15. Container Garden: All right. Go do some Google image searches for your favorite containers. I just searched on outdoor container gardens and outdoor flowerpots, and I found some of my favorite blue ceramic ones. And when that kind of looks like a concrete bowl and of these barrels, we're gonna go in turn, symmetry on. So go to the wrench tool canvas drawing guide edit, drawing guide symmetry and automatically goes up vertical, which is what we want. I'm going to turn my guide. I said dark so we can see it. And I'm gonna go to that nice marine blue six Be no taper wide. I'm gonna go ahead and make a bunch of duplicate layers that have the assistant already turned on. All right, so your shape really can be whatever shape you want. I like doing a shape that is, uh, you know, narrow but flat, flatter at the bottom. And then nice and white at the top. In fact, let's do two at the same time. This one has an ace rim around it. So and it's whiter. So we do whiter at the top, and then it's narrower. And then the rim somebody cover these in real quick. What I'm going to show you is going to be a similar to this and that we don't need to really see the rim along the back. You might want to add a little bit of an area like that so that when you draw something that comes up and out, you can still see how the rim kind of curves around. Just like that. Go to a layer above it. Make sure drawing assistance on and clipping mask. Let's go to a super dark blue And let's just start having fun with streaks and textures I just remembered I don't want drawing assist on because I actually want some highlights on one side shadows on the other side. I don't want them to be identical. Another clipping mask. Maybe come up to a bright teal. You can go to this teal right here. Go to the damp brush, turn assist off. Maybe this one's got its more purple undertones, so I'm just really playing around. I want to get a few colors. You can do Alfa lock on this bottom layer. Turn assist off against that. We don't have symmetry, making everything happen on the same on both sides. I'm going to the streaky layer, and I'm just going to turn it down a little bit. And I turned it on. Multiply the reason I turned it on. Multiply A. Is it will go ahead and be affected by the color that's under it. And I think I want some more finest streaks on that with a different color this time, so let loose in half on. I do want to erase the streaks that air around the rim. You want to make sure my rim is a little bit more obvious, and then I do want to go ahead and put a highlight on there as well. I'll just go to my white pencil stroke, All right. You can group those together and move them aside. I am noticing. I do want more shadows down below, so let's go ahead and do that really quick. I'll go on this multiply layer, go to a pretty dark teal and go back to damp brush. Just get some dark areas, so it's not so flat. Maybe a Turk Marine. Color the rate. I mean to turn that group off, go to a new assisted layer and go to these barrels. So let's just go to the gray to the six b. No taper wide. These barrels have just slightly curved sides. All right, could be mask. Let's go to a really light color. Go to damp brush on a pretty small size, and we're gonna make streaks if you did the birdhouse. This is a similar look to that birdhouse that I did in the video. Go back to a super dark gray, maybe even a smaller brush we're getting since streaky wood texture on here and then around that top edge. Let's just go ahead and go to another clipping mask in case we need to erase. It's just dab. The cut end of the wood is not streaking. Going back down to the leader, Balu, that on a nice dark color and a thin line, this diskette, some indication of the wood slats and finally, on an unassisted layer above all of it. That is not a clipping mask. We're gonna go. Let's go to this brown and bring it really dark in more towards gray this direction go to six B, no taper wide, and let's go to about three. No, it's good. About 45%. I think I want it whiter. So when they go toe 56% you can do a great line like these. I'm doing more of this. Look right here. Erase on the same brush. But this time we're gonna leave a little edge sticking out from the side of the barrel. You're welcome to go ahead on a clipping mask above those metal straps and have fun with texture. If you go down really dark, do a nice, grungy Agrestic. Look there. Go on another clipping mask, maybe under that, and get more of a rusty read makeover the Grinch. Let's give that a try. Oh, yeah. I'm not like in how the edge appear Looks so I just wanted Crisp that up a little bit. And I'm gonna do that first by erasing that clipping mask that I have. That's kind of covering the Dirk interior areas that we made and erasing a little bit of the light blotches that we did actually like that already like it much more. But what we can also do is do a little bit of would edge looking pieces here. All right, there's your barrel. Let's group all those layers together and turn that off. And finally, this concrete bull. So I'm gonna turn the guideline back on. Choose a light gray, go to the six b, no taper wide and just do a nice wide bull on a clipping mask. Above that, we can go ahead and turn our drawing guide off. We're going to make the clipping mask on multiply and shoes a streaky, grungy brush. Just get some nice streaks going on. Maybe some really light ones. Oprah and multiplies. The light doesn't work. You need to goto went more clipping mask maybe a bigger size and out flock this bottom layer and get some shadowing. Maybe with just the damp brush again. That bottom layer is on drawing assist since turn that off dark in it at the bottom, darkening around the sides over here and a lightning it in the little I'm going todo erase this top room a little bit. Well, you know what? I don't need to erase it. I'll just go one more clipping mask and have a very, very light gray and a nice texture brush. Let's do this wide pencil stroke. We're gonna get it a bit of a rim top of rim on that, and it covers up the other clipping masks. There's your concrete bowl. Fill your bowl with all sorts of florals. It's group that together and turn on our other containers. You could make all sorts of fun designs with these. I'm gonna show you one for now. I'm gonna go ahead and flatten these. Select this three fingers wiped down, cut and paste. And now it's on its own layer. This is on its own layer. This is on its own layer. And with this guy, I want to show you a very simple and fun way to make a big container of lavender. So let's go to a really dark green and go to the bold streaks I am. I want to make sure that my leaf, my leaves that are sticking up are not going to be over here. Right, So they need to be no further than this. If they're just right here, that works, too. But I can use a layer mask to fix if it if it ends up kind of covering this part. So let let me go ahead and show you what I'm talking about. I need to get a nice start green base down here and start bringing up the color I don't want to see through right here. I want to end up. I want to end up having it be completely colored in. I actually want darker down here. So I'm going to come from the top on these and then e f a lighter. I want to be able to see this really dark green back here. So I'm gonna erase some of this carefully, this one over here and then on this I'm going to add a mask when I make sure I'm on black. And let's go to May 16. No taper wide. And I just wanted get rid of some of that. But now, on top of all of this green mess here, actually, I'm gonna move all of this down on a layer above all this green. I'm going to go to this purple, gonna go darker. And I mean, it came down to my fuzzy edged dot and I'm gonna draw. This is a pressure sensitive brush. Somehow some be bigger and some be smaller. Come up a little in color, stay a little on the greater side and go right on top of the ones you already drew. Lighter gray er, and you have a very full simple container for your container garden. 16. Batik Eggs: in my winter class. I did a few Christmas prompts, and so I thought I would do a couple Easter pumps just to have a little Easter fun. And, uh, I used to make Ukrainian eggs as a hobby for Christmas presents when I was in college, Um, so I thought it would be friend to kind of get that kind of a look on an egg. I learned a technique for making a really cool paper texture canvas texture that I want to show you first. So start your canvas. I use 10 inch by 10 inch at 300 d. P. I, and that's at a bunch of layers. Go to the top layer hoops. First, let's go to a gray, just go to a great kind of straight across and we're gonna fill the layer, and then we're going down to black and choosing a texture. You if you have other overall texture brushes that you like, then feel free to use any texture brushy would like. I'm going to use this jen overall blotchy light, and I'm going to stay on a fairly small size salmon about 17 18% just so I have ah smaller overall texture instead of bigger blotches and cover the whole page. Then switch to white and we're gonna rotate and cover the whole page again an hour duplicating this page and removing when all the way down to the bottom. This one is going to go down to 10% opacity, although it can go lower if you need it to. And this one is going to go to a blend mode called Overly. I don't know if you can see that, but I can still see some texture. So I'm going down to this one, and I'm turning the opacity down a little bit more 5% and now I can barely see any texture . I want a pretty white paper canvas, and now we're going to illustrate on all of the empty layers you can add more layers. They just need to be in between these two layers. That's what you get when you drawn the layers in between. The red is it almost acts like it doesn't work at all, but if you just bring the intensity of that down a little bit, you can see the texture. So I think it was just almost to break Let's draw an egg. I love texture, but I am going to go with the model and brush for this egg. I'm down here at the bottom, and I'm just going to do one egg for you today. You can look online for some inspiration to do more. Let's let it snap to an ellipse drag and drop. And now we're going to the magic Want liquefy? I'm on push and I'm on 71%. And I'm gonna pull out the bottom of the egg to make it wider, maybe push in to make it a little flatter and just get a good egg shape. I went ahead and saved some inspirational photos. And if you search on batik eggs, B A. T I. K. Or Ukrainian eggs and there is another name for them. But I don't know how to pronounce it. You will see a ton. I did them at Christmas time and I made them very. Christmassy, like this one, is almost like a poinsettia. But if you choose some spring colors, they're gonna be perfect little Easter eggs, and you can see they do have a texture on them, too, because that's how the eggshell is it just kind of holds the die irregularly cause it's a little bit porous and bumpy. We're gonna have a little fun with be symmetry tool, Go to the wrench canvas drawing guide, edit, drawing guide, symmetry options, radial symmetry and rotational symmetry. I'm going to go ahead and make my line black, and now you can go ahead. If you didn't do your egg right in the middle, that's okay. You can drag this little dot to approximately where you want your symmetry to be centered. If you ever do this and you change your mind, the way to get that to go back is to tap the dot and tap reset. Now in. This is the layer way up here that's got the drawing assist on. Of course, you can turn the drawing assist on and off really easily like that each time you need to. I am on my monoline big brush, but I've come down to a pretty small size. I'm at 3%. They're going to go to 2% and the reason I'm doing the model a brush is because I want to do some drag and drop filling, and if I use it a texture brush. It won't let me do that. So I'm just looking on here for a little bit of inspiration. Like the stars with Stripes, you are going off the edge of the egg, but that will be fixed later. So no worries about that. We do want it to look like it's overlapping and going around, so we'll be doing that later. Let's just get the based design Now. We're going to tap on this and happen. Reference now procreate will reference this layer every time we drag and drop on any other layers. So right now, assist is not on. So if I drag and drop pink to here, it's not doing all of the pedals. I'm going to a new layer with each color. I accidentally put the yellow and pink from the tips on one layer. I'm going to go ahead and leave it that way, since they're all very far away from each other. There's so many on this layer. I think I'm gonna go ahead and turn on drying assist and let that assist me. There we go. I'm going to turn their drawing guide off. We can still use drawing assist we don't need that guide on. So I do really, really like the texture that the paper gifts, but I think I want a little bit more. So I went toe have a little bit of darker pink areas and lighter yellow areas. And I think what I'm gonna do to get that is just go ahead and health a lock, the layer go to the pink and this came down to a darker pink Good. My trusty damp brush. And I do want it just kind of random. I'm not trying to make it look like a flower that's darker in the center. In fact, think of me that Oops, I can't erase because I'm just on l flock. I'm not on a clipping mask. So what I need to do is go back to my original pink and just add some of the pink back. So I'm gonna to finger swipe and Alfa lock all of these layers. I just did the egg to, but that's OK. I'm going to the's blues right here, down a little ducker and let's do this yellow for the yellow. I'm going to go to the yellow and I'm gonna try to lighten some areas we still need to do the pink and yellow around the edge. Once you're happy with your overall design, we are going to merge the whole thing. If that worries you, go ahead and select all of those layers except for the egg group thumb. So it's just art design and duplicate it and then we can turn off the original, flatten the duplicate and bring it down above our dark blue egg would ever color your eggs . And now turn that into a clipping mask so you can see now it just simply cropped the design to this the same shape as the egg. But we can change the look of that and make it look a little bit more like it's wrapped. What we're gonna do is take Alfa lock off. I had all those layers Alfa locked. So when we merged them, they did stay in the l Flock state and we're gonna go to liquefy if you want to make the design smaller. First, you can also make sure Magnetics is on and just kind of pinch in the center and it'll stay centered. However you had it. If you go to pinch and you hesitate appropriates Going to think that you're doing the to tap to finger undo So don't sit there with two fingers on it When you when you go to pinch All right, we're gonna goto liquefy and we're just gonna kind of push it around just like we pushed around the ellipse to make an oval like some of the dark blue showing. So I'm gonna keep that This might be a good time to play with Pinch If you have the size really big, you can always undo this. So don't get too afraid. If you pinch right here, it's going to suck the whole thing into the center. So that was set really large. So it did that without really distorting it. So if we said it's smaller, that perfectly distorted it. I'll show you that again. So that's at 65% for my size. Egg years might be a little bit different, so you can see how I'm distorting it by also dragging that I'm tapping the center of that star and I'm dragging it down. Now we have a big, long pedal up here in a shorter pedal down here so you can really play around with your design. I'm gonna go back to push, and I'm gonna pull these up and down a little bit. I'm going to try a different color for the egg. Since it's so dark, I can barely see the the texture. There we go. So there is your batik slash Ukrainian egg and you can see the possibilities are endless. So just a quick reminder that we did the design all in one layer with the model a brush. And that's very important because it's a brush that doesn't have any gaps. So I should point out that I every line that I met up with, I didn't leave any gaps. So as you're making a shape, it has to be a complete shape. If there's any gaps like this, when you drag and drop the fillets going to escape through that gap and fill the whole entire layer so all of your shapes need to be completely closed. As I'm looking at this, I think I want to do one more thing, and that is to make it look less flat. So I am going to a clipping mask on top of our design. I'm gonna turn it to color burn, and I'm gonna go to a pretty light gray. If you want texture, you can go to the damp brush. If you want a smooth look to your egg, it's still going to show the texture that's on the paper. Then you can go to the airbrush, and you can do some shading, and it will apply to all of the colors. So it made the blue dark, earthy, great, dark, earthy, yellow, darker. It doesn't look like grey because it's on color burn, and then you can play around with the opacity of that or maybe trying linear burn. So linear broom gave it an interesting look. It it allowed the texture to come through a little bit more, and it also shadowed the cream colored line. Color burn didn't really apply to the cream colored line, so I think I'm going to stick with linear burn, and I'll just go on when more cookie mask and do a super light gray and see if I can lighten this up here. But I am going to change the blend mode on that as well heard late. So there's a few that give a nice look to that highlighted rounded part of the egg here and now just gives it a little bit of a left, a little bit less of a flat feel you, of course, can make a shadow. And under the egg, if you duplicate that egg, I like to drag the duplicate down. Now we've turned off that automatically turned off other clipping masks. So you need to just go through and turn those back on. Make this egg dark gray or black. Turn off the Alfa lock. Select that egg lips freeform and just drag it down. Track it down a tiny bit under the egg down here. Libs that is not supposed to happen. Procreate. Gonna distort it a little bit because if the light is shining right here in the shadow should be back there. I'm gonna go ahead and Blair it. Ooh, I like that blurred texture. That's it. About 12% and reduce the opacity. Maybe race someone airbrush as well because the shadow is going to be lighter as it goes further away. All right. I can't wait to see what you do with the eggs. You could feel the whole page with eggs. Make a repeat pattern. I'm so excited. Happy Easter 17. Bunny Sketch: I wanted to finish off the spring illustration class with a nice Easter illustration. I'm gonna go ahead and just include appropriate file that has a little collage of all of these photos. Thes were all free use photos on picks. Obey. It took me quite a while to find him, though I had to search in different ways, like standing bunny and all sorts of things. So, um, I'll go ahead and include those in the resource is section. This is the one that we will go ahead and illustrates. I'm not going to include the flower photos because I can't recall which ones I got from picks obey. So I'm not sure which one of these air actually free use. This is kind of the look we're going for with our better fi illustration. That will be using this bunny today, of course. So you can use anybody you want. I created this palette based on this cone flower photo. For now, just go ahead and find a dark color in your favorite sketch brush for the bunny. I like this bunny because we don't have to worry about pause. We don't need to worry about Klaus and toes. We get to hide all of it down here. So this bunny is going to be down here at the bottom of the page and we can worry about toes another day. I am going to look at the head right here, and this might not be the right size for now, but it's just the starting sketch and I'm destroying a circle. It's more of an oval, but it really doesn't matter. And then for the little snout, I'm gonna draw an additional little circle. You can kind of see that it's pointing up so mine isn't quite pointing up and is to be pointing more like this. So I'm gonna put this up here a little bit more, and we can change that head position a little bit later as well. So I have a basic outline for the head and snout, and if you just start looking at the little forehead and the top of the head, the top of the head looks pretty flat. What, zoom in here and zoom in on this part, too. So the top of the head is pretty flat, and it's kind of an angle right now. And then a nice hump here that comes down to the snout, Kind of like our forehead back here by the ears. It's also a little bit flat, this slight curve and then the back of the head is angled quite a bit. Let's just get a little bit of a curve connecting our little snout oval there. So now we have this basic head outline and we'll get that neck right here, and then the chest sticks out. We come back here to this nice sloping back from right at the base of the neck right about here. So this comes down more, and then this slopes out and around, and that doesn't really have to be precise. So now we need to think about where this back leg here is gonna be kind of It's gonna have a line kind of blocking it off in front of it. So this whole chest comes down to this front leg and the front line comes down, you can barely see this probably could barely see it on the video. But when you have the picture, you're gonna be able to see this front leg coming down right here. And also this chest kind of extending down right here. So it's almost like he has a little elbow here, hiding under all that for and then the other front leg over there is just kind of hiding back there again. We're going to be way down here at the bottom, so we don't need to worry about anything else down there. And then let's look at the ears So the ears kind of are completely included on just this back side of the head, maybe a little bit further up. Some gonna have one year coming up here and here, and the other ear is kind of partially hidden behind this one. So we're just going to see part of it. Let's get this one down first. So this year comes up at this angle before it starts curving up more. And on this side it kind of comes just nice and smooth and curves. The other ear is just as tall and because of the angle we're looking at it. It has this straight edge here, and then it curves around the's ears air much bigger than this, Benny, which is totally fine. If that bothers you, you can if you like the look of them, but you want them to be smaller, you can select them and just shrink them down. I like a big So now you need to decide. Well, let's go ahead and get the eye on there so that I looks like it's almost in a straight line across from the nose to this back here, right here. And it's basically right in the middle. Maybe make it a little bit bigger. Let's go ahead and sketch that very cute little snout there. I know our sketches really messy right now, so this almost looks straight across and then you can kind and see a tiny little nostril over on the side there. And then there's this little piece that comes down and then his little mouth here in here. Let's kind of get our general size. Oops, that we went the money to be for our illustration. We know we want it way down here because that's just kind of the one we're looking at. That's we're gonna follow that. So if I have the money over here, then I can I have room to put the, um, the flower and the better fly here. I think I might want to make him look a little smaller, but I could make him a little smaller later as well. I can't make it bigger later. So I think I might start with him being a little bit bigger. And then if I want to make him a smaller later, I could do that. I'm going to turn that opacity way down and start a new layer and do more finished sketch here. I'm still referring to my photo. - I feel like there's something wrong with this. Not here. I think it's sticking too far out. So I'm gonna go ahead and select a large area here and move it in. Yeah, I like that better. And then we'll disconnect that up before we're done with this sketch and want you to look at the ear of whatever photo you're using. You're going to see the little fold coming over. You might see one on this side, too. And so you just gonna have that sketch. I'm gonna go ahead and clear the other layer that we have the rough sketch on and I'll go ahead and use that 14 flowers. This is basically just a mound with a flatter bottom. My opacity is down, and one of the things about cornflowers is they get the pedals get really thin as it goes into this pistol in statement area here so you can see gaps in between. So for the sketch, I'm just trying to keep that in mind. Basically, I'm not gonna have tightly packed um, flower petals here, So I'm just positioning this flower in a way that will allow me to put a butterfly here where you can tell the bunnies looking up at it. But on another layer, we're gonna go ahead and drop Butterfly. So find a good side of you picture of a butterfly and you're not gonna be able to see all the legs, and you're not gonna be able to see all the body parts. But try to get this head and thorax there. So I'm on a new layers. I can move it around. It's OK. Fits way over here for now. So there's a head and then kind of a hump for the thorax right here. And then the abdomen is hidden underneath the wing there, so this wing comes out from the thorax. I like this and this swing comes down from the thorax right here and then this bottom one is going to be curved down. We have almost a straight down line here, so we'll keep the better fly on a separate later so we can keep that moving around. I just got to get 1/3 leg on there somewhere. We'll get a leg that's kind of hidden on the other side of the flower, and I do want to get some of the lines from the design on the wings. 18. Completed Bunny: I'm really happy with how this has turned out. And, um, I'm ready to add some color. I think we're just going to start with a really mid tone grey. So just kind of go straight across on your disk. The method I'm going to show you for this sort of painterly look is going to use clipping masks. So the base layer that we're doing for the bunny is the final out outline shape. It's the it's the final overall shape. So if you want it to be a nice, smooth edged Benny shape, then that's what you should make right now. At this stage, if you want some nice little, very edges here and there, then this is the time to do that. I'm gonna go ahead and turn down the opacity a little bit more so I can barely see it here . All right. I guess I should have put him much lower and me to go ahead and turn on a clipping mask above this gray layer. And I didn't grab my no taper wide go to a pretty big size like, um, 70% and I'm gonna do some really light, almost white, uh, colors where I see some highlights. So the top of the head a little bit around the cheek, some here on the chest, and it kind of comes down onto this paw. Let me zoom in here as much as I can a little bit back here, and I'm going back to that initial gray that we have this base as a base color and I'm gonna go down towards black and add Cem Dark areas. So since you're on a clipping mask, you're not gonna be able to see anything that's not on top of the bunny. So you can just at this really roughly. So I'm getting in a dark area under the elbow and down the leg, and later I'm gonna do this leg on a separate layer and a little bit of dark patches in here. There's a lot of darkness around the eye underneath, so you can see it kind of looks crazy. But now we're going into the smudge tools and we're going to the spring classes and go to jacket brush. I'm just a pretty small, like 4% and I'm going to make short, quick strokes. I'm tapping and swishing, and we're going to do a few layers of this. So it's OK if it's not right? Of course. You know, right at this one layer, you're taking advantage of this gray so you can see it Looks like you're mixing gray and white right here. And just like over here, it's gonna look like you're mixing this gray with this black up here, it's gonna look like you're mixing the black and the white. Well, you are. You actually are mixing the black in the white, But, um, you want Teoh? Just pay attention if you if you do too much in one spot, you're just mixing the two colors into a gray. So the other thing you're paying attention to is the direction the hairs air going in. So I'm just kind of going across the top of the head back that direction around the eye, trying to keep these dark colors over here, and not if you if you need some dark over here, you can actually drag it over. If you need some light over there, you can drag over. But we don't really need to do that because we can just add another layer or we can add directly on this same layer to get more color that you need, go ahead and do a little bit bigger. Who? That's too big Summit like 6% now for the body and being a little bit more careful with that pot. And I'm coming down and instructing the light colors down onto the darker colors for their final stopping place so that you can see it looks like for overlapping light for overlapping dark for I want to make sure I don't have any of my strokes of color still showing. So you do want to tap into smear and smudge all of it. So I'm already really happy with this bunny. It will probably, um, have more, uh, details to add later when I really step back and look at it. And I want to make sure it's nice and dark down in here. Let's go ahead and, um, see what we do for this other Paul over here. I want to make sure that I've kind of smeared anything from this layer sort of off of this pot, and I'm just gonna go to later. That's under this. Get more of the black. I don't think I need any of the white, I think with the blackened and this gray is all I'm gonna need. So basically, all I was going for on this Paul was to get a little shadowing right here so that when we turn that outline layer off, we can still see that there's to pause. I might add some more highlights right here to really define it. But for now, this is looking pretty good. I am going to go ahead and go back up to our main layer and look at that years Turner sketch back on. So if you look at the ears, they're a little bit dark down here and a little bit dark up here a little bit dark all the way around this edge. And then this folded over part is darker than this inner part. So we're going to do these sort of brownish parts. First, let's actually go back down to the layer. That was that second Pau because we do need to go under this main layer of color that we just added, and let's try to find a color close to that brown. It's kind of a grayish brown him and we'll go back up to the later that we did for all of this and start adding some of our dark grays and medium graze thes are a little bit more brown. If you do wanna bumpy over towards Brown, I'm seeing this whole edge highlighted. So I'm gonna come back to that and just get me dark colors on. And then I'm just gonna defined the edge a little bit to space smearing right there along the edge. And I'm gonna stay on this layer and I mean, it gets some highlights right along that edge a little bit later, Almost wait, maybe go down to about 2%. And I'm going to go down to a new layer under that. I don't want to be on that brown layer, which is right here, and I'm going to do this same thing for this year. So this year is it's the back of his ear. This one's the inside of his ear. But this one's the back of his here, and it just looked different. So I'm not trying to make them look the same. And I want to be careful that I don't make it look like the inside of a near this Well, the dark areas aren't quite a stark, but the brown areas also smaller than this brand area and go to some highlights just up around here a little bit. It's really just spent to play with down here on this base layer. I am going to go on top of that, add another clipping mask and look at where I need some darkness and add some more. Just add more. This almost has a purple Lee gray look to it. I wonder if I should come over to the purples because she could do all sorts of colorful looks with this and have it be really unrealistic looking and fun and colorful. Let's do another clipping mask and let's look at that. I I'm gonna turn this Sketchley you're back on. I can barely see it, but I do see where I put my eye and I'm gonna go pretty dark, not all the way Black run. That same brush will just come down in size, and I see black almost a circle. So let's just go ahead and do a circle and a lot of the people a lot of the eyes, actually, just people let's put a big people in there. And then we have that iris, which is a nice dark gray. And if you look really close, you can really only see the iris on this bottom half a little bit more than half. And then we have a reflection. We're gonna do a reflection on a different layer. I do want to smear this around a little bit, though, so we still have a painterly look. So I'm going really small to 2%. And I'm gonna be really careful and a little back and forth strokes along the edge of where my two colors meat around the outside edge. And then if you see this one little point in here where the eye comes, I'm going to select this super dark color and go ahead and make that one little spot where the ice sticks out. And I know right now things look really flat. If you look at the iris, color kind of extends this way, and then if you look around the black, we have kind of the islands. I guess so. I'm gonna go ahead and choose this iris color again and just get a little indication That might be too. Dirk, I'm gonna go a little bit lighter. I might go on a separate layer so I can change the color of it if I need to and does come around. I can't see it too much up here. Go a little bit lighter and get a highlight on their a swell. And I am going to smear it just a little bit. The nice thing about this being on a separate layer is that it's not smearing my iris now. And one more layer we're gonna do that reflection That reflection looks blue, grayish blue. So let's just come down to the blues and go in towards the blue a little bit But stay on this grey er side and let's see Yeah, so it comes up really close. I can still see some black all the way up here comes down into the pupil area a little bit curves this way starts to get lighter as you go this way and has a very bright spot right here. I would go all the way to true white and it's just magic. What? The reflection adds to anything, any, any animal eyes I'm gonna make a nice, bright white spot that I'm not going to smear. So I really like that. I think it It blends in well with the surrounding area if you want it to blend in more. Well, that doesn't really blend in. The hair kind of comes up off of it. Um, underneath all of these layers. So if you want to do something down there, you can come down to a layer underneath your eyes and go to one of your darker colors and get some dark. Have you see this dark area here? It start here, Start down here. So that got a little shadowing around make underneath behind these eyelids. I'm not sure if those air actually eyelids, but kind of gives the look of eyelids here. I'd probably go a little darker right here. And now that this is dark, I can see my eyelid needs to be smudged a little bit right there. So I'm gonna go back to my island layer. This kind of blend that in a little bit. Beautiful. I love it. All right. I'm not gonna confess with that. Let's go to the nose. So it almost looks like a trap. Is away. Do you see that set? A trap? Is a waiter a rhombus? I don't know. And then you can sort of see over here that nostril heads off over that way. And then the little piece that connects down to the lips over this way and then over this way, and then I'm gonna call it done. Turn the outline, layer off and see what you have. I love it. Cute. It's bunny. 19. Flower and Butterfly for Bunny: I'm just gonna show you one quick way. I'm gonna do the cone flower, and then you can add all the other cornflowers you like to turn, the better fly off. And I am going to choose this super dark color from this color palette. I'm gonna go back to the studio pen and I'm going to attempt to get a similar look. So I am using the same brush that I used to lay down my color of the bunny. And I'm going Teoh Just do very, very rough shape Here. Go under that. Go to you could either start with light pink in ads and dark shadows with this one, or you can start with the dark. Pain can add some light. I am just going to fast forward through this and making sure I turn. I'm making sure that behind here I'm closing off the shapes so that I can drag and drop and another layer under that for the greenest. Um And then, of course, on top of this, I'm going to add all these nice little orange spikes. So minutes select that orange right there. You know, I think I might stick with the studio pen and see how that looks. I'm not making it a clipping mask because I want to be able to go off the edge. I'm gonna go ahead and turn this sketch lier off, and I'm not sure I like the studio pen for those, but I can always come back and change that later. If you look carefully, this dark cone has some highlights over here. So it's later over here and darker over here. You can do that on a clipping mask, or you can do it. Just Alfa Luck and it directly on that layer. I am going to go to Jen's brushes and go down to tiny hatch marks, and I'm just gonna I'm gonna go to that dark color. I'm gonna bring it up to a lighter version of that color. You can barely see what I'm doing in there. There is also some nice golden up here, so he didn't do a lot. But that's okay down here on top of the pedals, I'm going to add a clipping mask and I'm going to choose this super light pinkish purple and add some color just like we did for the money. Could add another clipping mask and just go all the way up, toe white and get some areas of white on there. A couple of them, One more clipping mask on top of all of that. So if you don't like any of those streaky brushes, then just draw your own streaks. So I'm just going to do a six B and just get a couple of stripes on each one, and I like him like this. I'm going to just check a couple blend modes multiply, made them a little bit darker. Yeah, that works. Just lower the opacity to about 75%. Uh, go ahead and just Alfa luck the stem. Go to the green of the stem and just come down to a darker When go to my streaky brushes, it's gets streaks on there. All right, I'm gonna go ahead and group all of the flower layers and go to a layer above that, actually at a few layers and do the better flight going back to studio pen. Turn on my butterfly sketch and I'm just gonna fill the whole thing in black. All right, so we have our butterfly clipping mask above the better fly and Since the sketch layer is black, I can no longer see the sketch layer. I'm gonna alfa lock the sketch layer and just turn it fill fill the layer to a lighter color and then I can see it now it can turn the opacity down and I can see my little design there so I can figure out where my colors go. Go down to my clipping mask and I'm gonna I'm just gonna grab this orange that we used for the cone flower. So this orange is pretty dark, so it's a good one, for they go back to six, be no taper wide. The same brush we laid down color for the body is going to get some of the super dark orange here. You can see that this is even darker, so let's play around with getting some more tones here. So if we go to that orange and then just slide this up so it's right across from it, that's a good spot. And then just kind of come over here a little bit more and it's ah, pretty golden, so we'll just get some golden areas here. You can tell this is super rough this isn't quite the yellow we want, but we're gonna be adding more colors. So let's go a little bit more yellow. Okay, so this could be played around with quite a lot, and I don't want to spend a whole bunch of time doing that. So let's start smearing. I'm debating on turning, Gonna turn the A pass ity on that sketch later, way, way, way down. So I'm going to go down to about 2% going to try to zoom away in. I'm looking at my black areas. They don't need to be in the exact place as the photo, but I do want to keep some black areas in between these color sections. - I am going to a new layer clipping mask and I'm gonna add my white. - I'm not going to spend time smearing. That would be to turn my, um, sketch layer off and there's my better fi. So I'm not liking how my little statement are doing on this full hour, so I'm just gonna alfa lock those. I might go back and do them in a more sketchy brush, But the other thing you can do is just adds some texture with the texture a brush. So if you go to the orange and then maybe come down to a darker and then maybe two in a schooled in appear So just doing that helped a lot. We added a bunch of texture. I can't wait to see what you do with this. And, um, coming up with your own designs for some more leaves in the background, for example. What I've done here is I made a lot of different layers of leaves. And then when I made these, I put I duplicated them, lightened them and blurred them and put them on a layer underneath everything else which makes them look way off in the background. And I just did, ah, fend texture on the background here. I wasn't going for a real look like with a sky and everything, but the white was a little bit too rough looking. Oh, this one, Actually, I did green down here instead of that dark brown and I used one of my pencil brushes for all these little orange statement. That was fun. Oh, I also added leaves so you can add leaves. You can add two layers of flower petals, so I can't wait to see what you do