Take Your Line Art from Flat to FAB in Procreate - Free Texture Brushes & Practice Art Motifs | Starlene Designs | Skillshare

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Take Your Line Art from Flat to FAB in Procreate - Free Texture Brushes & Practice Art Motifs

teacher avatar Starlene Designs, Illustrator :: Teacher :: Animal Lover

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 33m)
    • 1. Intro

    • 2. Lesson 1 See in Layers

    • 3. Lesson 2 Drawing Layers

    • 4. Lesson 3 Color Blocking 1

    • 5. Lesson 4 Coloring Your Line Art

    • 6. Lesson 5 Add Texture Part 1

    • 7. Lesson 6 More Texture Part 2

    • 8. Lesson 7 Even More Texture

    • 9. Lesson 8 Finishing Up

    • 10. Lesson 9 Add a Background

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About This Class


Make your line art jump off the page with the skills taught in this fun, step by step, deep dive class

You will learn:

- How to create clean line art

- How to "think" in layers

- How to break your art into non-destructive, editable layers

- How to use Reference layers for great versatility in color blocking your piece

- How to use Clipping Masks and Drawing Assist to create a richly textured complex motif

- How to explore colors and choose the perfect ones for your project

- How to paint a colorful, textured background that compliments your piece


Meet Your Teacher

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Starlene Designs

Illustrator :: Teacher :: Animal Lover


Hola!  I'm Starlene, a life-time learner and teacher of all things creative. I once thought of myself as "artistically indecisive" (or Artistic ADD ::haha::) because I pursued so many varied artistic avenues - Master Gardener, landscape design, nature photography, paper making, graphic design, illustration, textile design, writer, woodworking, metalsmithing, lapidary arts, fashion design, interior design, upcycling furniture, sewing, needlework...are you getting the picture? Just recently though, someone referred to me as a Renaissance Woman, because I don't fit neatly into any particular niche.  That is how I will label myself going forward - a Renaissance Woman with varied interests and talents! 


I'm here to learn, to pass on what ... See full profile

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1. Intro: Hi, I'm startling. I'm a graphic designer, illustrator, educator, an animal lover. This is blue. He's one of my English angora house buddies lives to sit in my lap and be petted. Today's lesson is going to be a deep dive into Lionheart illustration and texture techniques Using the appropriate on your iPad. We're gonna be taking flat Leinart and turning it into a fab line. Art. You're gonna learn how to make covered line art pop off the page using reference layers and clipping mask and texture brushes. You're Leinart athletic, generate excitement. An garner attention. I have included several downloadable files for you to use in this class. Thes air free. Just go to your class resource list and you will find them there. There is a brush palette off specially designed texture brushes that I used, and we will be going through each one of those brushes in detail several times as we work our way through this class. There's also two images there want is a lotus that you would need to download, and we will be going through that piece of Leinart and there's another piece of art for you to have after the class is completed for you to explore further until you develop your own pieces that you want to use. So goto free class resource is download each item. You can download them to your cloud to drop offs, or you can save them directly to your iPad and then install each one of the resource is into appropriate the end of the class. I really hope you'll take a moment and upload your project here to the classroom so that we can all see how we started out with the same piece of line art. But by adding our own unique style, we ended up with a piece of landmark that was completely our own. I hope that you really enjoy this class, and I look forward to hearing your feedback. Let's get in the class and get started, Okay? You ready to go using high everybody camera and say no? Yeah, 2. Lesson 1 See in Layers: - Okay , let's get started and creating this open procreate go here to create a custom size canvas. We're going to set it in inches. It's going to be eight inches by eight inches. It is important that you use that size for this project because I've created all of your other motifs and documents to fit exactly on the size. So we will open our canvas, and then I want you to import the lotus motif, which was provided to you with the class materials. You can go here to insert a file or insert a photo depends on how you've saved it. If you've saved it toe a cloud or to Dropbox, you would say in sort of file. If you've saved it as an image of J peg image on your iPad in your camera roll, then you would say in sort of photo, Let's go over here to our layers palette. This is called layer one. Of course, at the moment I'm going to go ahead and change its name, toe lotus, so that as we're going through this lesson, we won't get too confused. Which layer I'm talking about because we are going toe have several layers and they will be numbered. But we will always refer to this as the lotus layer. So what I'm going to teach you in this class is how to take anything that you've drawn specifically a symmetrical piece like this. I'm gonna teach you how to see and liars and how to divide your motif up into layers. We're going to deconstruct your motif and then reconstruct it into separate layers. So in order to make things a little clearer, I'm going to put some numbers on these different areas of the smoke Chief to show you how this particular piece will be broken into layers. If you look at this lotus motif and try to imagine it in a three D way as if it was separate pieces of paper that you needed to stack on top of each other so that when it was viewed from the top, it would resemble this whole. Then you can see by thinking about it that way that this leave here because it's the largest would be your very bottom piece of paper. And then you would continue stacking on top of that thes smaller pieces of paper so that when you're finished. This would be the last PC stacked. And your creation would look exactly like this if each piece was different colored pieces of paper. So beginning at the top of this motif, looking from the top down, this would be layer number one here. Then you would have this single element here as layer number two going down further, you would have this element as a layer number three. Then on layer number four, you would have these four distinct pieces of the motif that are identical. That would all be on one layer. So we will put four here, and then the next, of course, is going to be thes pieces. These pieces here, which would be our fifth layer and then after that, would be thes larger leaves at the bottom of this stack. For layer number six, you can take any thing that you have drawn for that you've sketched out and apply this to it to break it into layers and then recreate it in procreate and separate layers. The thing is, when you're creating an item like this you don't want even if things are on the same plane , you don't want them so close to each other that if you were painting this particular piece here, you wouldn't want it to be right next to another piece that's on the same layer because your paint would spill over into that second item. Of course, you could mask it, but we don't want to have to do a lot of intricate masking in this technique. That's part of the beauty of it is that we don't have to do that. So the next item is gonna be this. This is going to be layer seven all by itself. Nothing else will be on that layer. Then this outer peace here would be eight. Then we go on out to nine and then can Okay, now we have finished all the pieces, all the layers for this interior motif, and now we're going to go into the exterior lease, and we're almost done with this portion of the lesson. So next we have six of these that are identical and are on the same plane off the motif. So we're going to be able to put those on one layer in procreate because they're not immediately adjacent to each other. There's enough space between this and that and that, so that if I'm painting here with a large airbrush, it's not going to spill over into this area very easily. So let's go ahead and label all of these 11. Then 12 will be this next leave. And there's six of those as well, this exterior leaf, even though they're all in the same plane. See there six of those as well. They're on the same plane, but this one butts up against that one and again there. So what I'm going to do is I'm going to make thes top two leaves and these bottom two leaves layer 13. Then I'm going to create another layer 14 and make this center one so that it's easier when I get to that step of my painting. So this will be 13. 13. And it doesn't matter that I'm drawing all over this because we're just gonna use this as a guide in a moment to actually create our Leinart. Okay, this will be 14 and we can throw it away when we're finished with that step. Okay, so here we have our entire lotus drawing with all the different layers that we're going to create when we re draw this in just a moment 3. Lesson 2 Drawing Layers: so we have numbered all of our layers, and now it's time to begin creating them. But first, before we start creating our layers were going to go and turn on symmetry for our canvas because this particular element of this lotus was drawn with symmetry on, which means that the left side exactly mirrors much cleaner and smoother if we turn it on now. So we're going to go over here to canvass, Turn on drawing guy that it edit your drawing guy. You're going to turn on symmetry here and at the bottom. You're going to make sure this first is highlighted in blue because that is vertical symmetry. If you turned on this one instead, it would mirror the things that are on the top would be drawn on the bottom. But we're doing a vertical symmetry and just say, done, and that is done. Now. If you created your canvas eight by a and if you brought in this Lotus motive exactly as it was provided to you, it would be right in the center. But you can check this at this point to make sure that it is. You'll see the blue line goes right through the center of the flower. Okay, now let's go to our layers. We're going to reduce the opacity of this lotus because we're gonna be drawing on top of it and we don't. I want it to be so bright and dark that we can't see our own lines, so I usually reduce it to about 20% so that I'm sure that what I'm drawing is much darker than that. As I said, there's gonna be 14 layers of this motif at the beginning. Lighter. There will be a lot more layers. But another reason that I like using an eight by eight canvas. If you go to canvass information here, you will see that an eight by eight canvas at 300 DP. I will give you 30 layers maximum, so that's a good amount of layers and a good amount of resolution and size. So let's go over here to our layers and let's go ahead and hit the plus sign 14 times to create 14 distinct layers. Okay, there we go. We have 14 layers. They're numbered all the way to 15. Of course, because the bottom layer, which we reduce the opacity on counts is a layer, and when we draw this redraw this, we're going to start at the top layer and work our way down this way, and we're going to be starting at the top here of the lotus and drawing down through the layers to the bottom layer there. So the top layer, I'm not going to turn on drawing assist, even though drawing assist has been set up for me and I can designate which layers I want to use drawing assist on. We're not going to do it on the first layer, because the first layer is this circle in the very center of this five petal flower and circles are very easy to draw in procreate without having drawing a cyst on. In fact, assisted drawing will sometimes make your circle look really strange, and I'm going toe have my pin size. What about 20? About 20 and I'm going to use in the brushes that were provided to you with this class, which I created all these brushes and they're very good basic brushes for giving you very detailed Leinart. I'm going to use the second brush called the best monoline brush, and I'm going to be using that for all of my Leinart in this next section of the lesson, and I'm gonna have a color of black. We want airline to be thick enough that it's very visible. It's somewhat chunky, and when we're drawing, we will know absolutely that were laying down a line. So here, let's get started on layer one at the top and do this circle a circle. They're very easy to do in procreate. Once they did the new update, you just make sort of a circle and then hold your apple pencil down on the screen and it will snap to and be a perfect circle. Let's go to our next layer underneath that one on this one on this layer and on every other layer, we're going to make sure that we turn on drawing assist, because what drawing assist will do is duplicate our work from the left side or the right. Whichever way you like to draw to the opposite side and create and identically symmetrical drawing on both sides, go to your next layer. Make sure you turn on drawing assist so that the symmetry tool is turned on. Go to your next layer this next layer will have all four of these pedals drawn on it with the addition off something a little extra. Do our first leave. Okay. Now, visually, it looks as though this line is connected to the five petal flower here and there. Except remember, this is on a separate layer. If I go over here and click and hold on that layer, you'll see that, yes, we have two pedals, but they're not closed items for the process that I'm going to be teaching you. Every single motif must be a complete closed design because if we dio and pull a color into this trying to color the pedal and it's not closed, that color will flood the entire canvas. Turn your you're tracing paper back on, and instead of leaving it like that, you're going to make sure that you follow and close those items. If you're wonder if you had them closed, click and hold on that particular layer and it will show you that Yes, you do have it on. If this is confusing and you don't want all the other layers in your way, let's go down to the to the lotus again turned the lotus on. Go back to your layer that you're working on currently and draw these. Draw these items without the remainder of your flower being turned on. Otherwise you'll have to turn your layers off and on to be sure that you did close each and every element as you drew it. There's no room for error on that. Each element must be closed. Okay, we're going to go to the next layer. Be here. Turn on assist again. If you want to turn off the layer that you just had, that you just drew its Click it off and you'll be on this layer, which will be everything that's that's labeled five on here is what you will be drawing next. So if you turn on all the other layers now appear you can see how how it looks. So far, we're going to go to our next layer down, which will be all the items that say six on here. And I'm gonna complete the strolling and the next a few steps doing exactly what I've been doing. Up to this point, this will be the small shield shape They're in the turn on drawing assist again don't forget. You have to close your design at the bottom here because nothing can be left open. If you're not certain that you closed it, click and hold on that layer and you'll see. Yes, it is closed. You will continue doing this process until you're finished with the entire lotus. Okay, here we have completed the 1st 10 layers of all this part in the center, and now all we have left to do are these exterior leaves. So our next layer, which will be layer 11 we're gonna be able to draw six items. 123456 And be sure to remember that you have to close them on this edge. So let's create our next layer. Sure, you put drawing assist Stein. Gonna make my pencil a little bigger. I want these lines to be a little bit more dominant and what I'm seeing. So let's just make these a smooth and nice looking as we can. Then here would draw all the way across so that it's closed on layer 11. Remember, Layer 13 is only going to be the top and the bottom leaves because we don't want to put it on the same layer as the middle leaf, which is on the bottom here because it's too close to each other for us to paint texture onto that leaf without masking. Now we're on our last layer layer assist again. It'll be just this middle bottom leaf. Okay, we're finished with that section. Now we're going to get in here and turn off this layer, which was our bottom layer. And in fact, you can throw it away because you might need that layer. I will delete that at this moment, and we have the first step of our line drawing. And in the next lesson, I will show you how we're going to do color blocking and decide what colors we like in each of these areas. 4. Lesson 3 Color Blocking 1: in this section, we're going to take the multi layer drawing that we made in the last section. In this lesson, we will begin color blocking, deciding which color goes into each of these sections. I'm going to be teaching you how to do this in a way that it's probably very new for you. From this point forward, we're going to be using reference layers for coloring because color is such an important topic. And because everybody does not have a class in color theory, I would like to show you some tools that are really excellent from making beautiful color decisions. I'm going to introduce you to a site that you might not be aware off. It's called Color hunt dot CEO. On this side, which is free, there are lots and lots of color palettes already put together for you in combinations that work beautifully together. You can feel through these pallets according to the ones that are new that have just recently been added. You can also see how many people have actually liked each pallet, and then you sort of know its rank and popularity. You can also filter these according to trendy, the ones that are very popular, the ones that have gotten the most votes. What you can do here, if you don't have any idea where you want to start in coloring your motif, you can start here to get some ideas. For example, I really like this one. So I'm gonna click on it. It's going to bring it up in full page mode. I'm going to do a simple screenshot on my iPad to save it to my photos. You could do this to as many palettes as you like, and then import them into the document that we're working on right now. Here is the document that we just created, and I'm going to go here to insert a photo. It's going to bring up that screenshot that I just took, and I'm gonna sample these colors for a new palette that you would go to your palate here, click on plus to start a new palette. Then, by touching the square button there with one finger and touching your apple pen to the collar, it will sample that color for you Curs Here, click on that color. Go to your new untitled palette. Click the first empty block and it will add that color to your palate. Continue doing this for all the colors in that pallet. Once you have used that photo in your document and you've copied all those colors to your palate, go into your layers and just delete that you don't need it anymore. Now, as I said, you could go back to that site and download or screenshot as many of the palaces. You want to create yourself a beautiful, custom coordinated palette. This is a good way for you to begin building some beautifully coordinated pallets off your own. There are two ways to color Leinart and procreate. Let's look at the first way here. You would go to a layer of Leinart, Select a color Phil for that element, then simply drag and drop it into the layer. The color is then confined by the border of the Leinart. On that layer. There are some problems and limitations with coloring your Leinart. In this manner, when you add color directly on the layer, you lose the capability off, either coloring your Leinart to a different color or removing the Leinart from your image. Here is an illustration where I chose to keep the line art in its original black color, and for this illustration, the look works well. However, in the remainder of this tutorial, we will be coloring all of our Leinart using reference layers. I believe you will really be impressed with the versatility and flexibility off creating in this method. I'm sure you have noted that when you click on a layer and you see the options to the left , that one of those options is reference layer, and you may not have had any idea what that referred to or how to use it. I'm going to teach you all the ins and outs of using reference layers, and I believe it will become your go to for coloring all of your Leinart in your layers palette. You will create a blank layer for each layer of line art that you've already created. It is not important where you place that blank layer. It can be either on top or beneath the layer of active Leinart. Once you have created your first blank layer, you must return to your layer of Leinart. Once you have clicked it, please navigate to the left and click reference. Once you have designated that layer as your reference layer. Be sure you highlight the empty layer associated with it. Next, choose the color in your palette that you would like to paint into that layer. The beauty off having created your own custom color palette is that your color decisions will not mirror mine, and in the end you will have a piece of art that is distinctly you. I am selecting this color for my first layer. I will return to my layers palette and be sure that the empty layer is highlighted with the Leinart layer specified as a reference. I will now click and drag that color into that area off my Leinart, and it will populate the empty layer I created. If I turn off the line art, you'll see I still have a perfectly round circle there, which is the approximate size that I wanted to be. Except the Leinart ads, a small amount of wind to that. Let's continue down through our layers and let's do this with each and every layer that we have. We will continue working our way down the layers, stack each layer of line art. We'll have a blank layer associated with it, and the layer of Leinart must be designated as a reference layer in each and every case you will note when you designate a new layer as a reference layer, it is removed from the other layer because procreate Onley allows there to be one reference layer at a time. As you can see reference layers or not complex, it's the same action over and over simply designate a reference layer and associate a blank layer to that reference layer, which will be the container for your color. Sometimes I have a color palette that has been provided to me by a client, and I need to adhere to those colors really strictly. But if I'm working for pleasure or I'm working on spec lots of times, what I will do as I create my piece is I will create different color variations to discover which way I want to go with a particular color scheme. For example, if I think at this point that this middle layer might look better in a slightly different color, I will click on it to highlight it. Then I will go here to hue, saturation and brightness, and I will move the sliders to the left and to the right and observe how it changes that darker color there. And I will see if there is some color variation that I prefer than the one that I initially selected. Now this is Onley affecting the 1st 5 petal flower. But you can begin to appreciate by doing this how your eye translates and interprets colors based on the color that is adjacent to it. By varying the color off this first layer, it appears that that pink is getting deeper and darker. I can go all the way through the different variations of color here and see if there's something I prefer. If I wanted to stop here in the Purple Range and I found the hue that I want to stick with , I would then go and play with my saturation and my brightness. You could make it much more saturated, less saturated, and then the brightness would make it more of a pastel or less of a pastel. And by doing this as you are working, you can create many multiple color variations. But this is a great way to experiment as you create to see what else lies out there in the world of color. You can also do this. You can duplicate it. We have two identical. Then you could go to your hue, saturation and brightness and play around with it. Go back to your original. You would have two identical layers in shape, but the color would be different than you could turn one off and on to investigate and see which which one you really like the best. Which one is most appealing to you and which one do you think is going to lead you in the direction with your piece of art that you're going to enjoy the most so you can duplicate that layer, as I said, and play with the color variations. That way, I'm going to delete this layer because I don't need it. But this is a great way for you to explore color. Continuing to our next layer. You will see that there are four elements on this layer. We will still set the Leinart up as a reference layer when you set up your blank layer above your Leinart. Be sure that you also turn on assisted on that blank layer so that when you do the color fill. You only have to fill either to the left or to the right. And the action off assisted will duplicate that to the other side of your illustration. And now you can begin to see why I stressed in the first part that we have to be sure that we close each tiny element because in reference layers, everything must be closed in order to color. Block that section and I will go down here to this next layer. Make it a reference layer. Create a blank layer. Make sure that drawing assist has turned on. I will select my color for this next layer, which would be the second leaf on top of each of the green leaves. Okay, Now I have completed the first portion off this motif. I will now continue to complete the remainder of this design with the colors that I have chosen and you can follow along with me. This part will be very fast. Okay, We're done with color blocking and all of our different layers. And you can see at this point if you like the way that it's working together or if there are things that you would like to adjust. You might wonder, why go to all the trouble off doing coloring of line art In this way? It's because it gives you a lot of versatility, um, both with either keeping your Leinart throwing your Leinart completely away or recovering your Leinart to either the same color as the layer or in a complementary color. Let's look at what this would look like if we just turned all of our Leinart off. There would be some adjustments that you need to make it this staged. You would want to take some of these colors in here and fill in those dark areas that are showing through. We have now completed all of the color blocking for our lotus motif. In the next lesson, we will color our Leinart and began adding texture. 5. Lesson 4 Coloring Your Line Art: So here's the piece that we have created with all the separate layers and the Leinart and tack. At this point, we need to decide. Are we going to keep the line or are we going to leave it black? Are we going to color it? My preference is to color each of the black lines the same color as the adjacent color within its area. To accomplish this, go back to the line art in each instance, click on it Hite Alfa Lock, Then the color immediately above. It is the color that we want to designate for the color of that Leinart. So you will simply either click and hold to find that color or go back to your palate where you have it saved. Then you would just tell it to feel layer, and it will fill that black with the color off that layer. And at this point you can combine these two layers, and you're going to be needing to combine them because going forward, we're going to be creating more layers. So as we do this, we will merge it down so you go to the next layer beneath it. Go to the black Leinart Hite, Alfa Lock. Select this color in your palate once the awful lock is on for the black Leinart. Tell it, Phil Layer, that color's it. I'm gonna continue doing this with all of my layers and then merging them down after I've done that and I will be finished with that in just a few moments. Here is our peace, with all the color blocking done, all the different layers ending up looking the way that it will be before we began adding texture to it in the next lesson is when the real fun begins when we start experimenting with the different brushes that I've provided you using clipping mask and making this piece really come to life and be dimensional. 6. Lesson 5 Add Texture Part 1: When you look at your layers palette, you should not see any remaining line art because all of our Leinart has now been colored and merged with its accompany layer. Do take a moment, though, and look at your layers palette to make sure that you have turned Alfa, lock off on each layer so that we can now apply texture. If you see the checkered background behind the image than that layer needs toe, have apple lock turned off? Let's take a moment and look at the brush palette we will be using in the remainder of this lesson. You should have gotten this brush palette from the class Resource is and downloaded it into procreate. This is a small but very powerful palette that I have put together off brushes that I designed to use to add dimension and texture. I'm going to be leading you through this piece. Using the brush is above to add dimension, texture, an additional lying detail. The way that I will be finishing this piece is only one among thousands of ways that this piece could be finished, and I encourage you to deviate from my suggestions and surprised me with your creativity. Once again, we will be starting at our top most layer, adding texture and detail and working our way down through all the layers to the very bottom off this design, if you have not yet created a custom color palette off the colors in your design, this is the time to stop and do that, because it will really speed up the process of choosing colors later for highlights and shadows. If you look at my lotus design and you look at my custom color palette, you'll see that I have the colors in my palette in the exact order in which they appear in my design, beginning at the top most layer here and sampling the color that is there, I will go to my disk and drag the color selector down into a darker hue off the color that is currently sampled. Returning to your layers being you, you will want to hit the plus sign at the very top and place an empty layer on top off each of the layers that currently exist. This new layer above each of these separate elements is where we will be painting are textures and details. The method I will be teaching you is very non destructive and versatile, and we'll give you the most flexibility going forward. To change your design, go to your new empty layer and click wants When the menu comes up, select clipping mask. You will see a blue arrow to the left hand side of this menu option, showing you that that layer has been clipped by applying a clipping mask to a layer. You are telling procreate that you want whatever texture or detail is on that layer to be married to the layer beneath it, and none of your brush strokes or textures will show up beyond the bounds off that layer. I have chosen the dappled grain brush to add texture to this first layer. I normally create all of my texture layers at full capacity for the brush and full opacity for the layer. That way I can dial it back in opacity. If I don't like the full effect of the color, I will quickly add the dappled grain to this layer. I'm gonna go to my second layer here, create a blank layer on top of it. Make sure I tell it clipping mask. I will be selecting a lighter color than the flour and adding a layer of highlight around the edges of these pedals. I will select the throwing shade brush toe. Add the highlight detail to these pedals. Check again to be sure that you have clipping mask turned on, then selecting a paintbrush in the appropriate size. You will begin painting the highlight on painting actually outside the pedals until just the edge of your brush detail hits the pedals. And if you're not sure that you like what you've just done, turn that layer off and on and see if you think it adds anything or already tracks from what you've done. Are you ready to hear my biggest secret? My biggest secret is that I use my A race brush as much as I use my paintbrush to create texture. For example, if I want to erase some of this highlight texture and make sure that it does not come nearly as far down on the pedal, I will go to my same brushes palette and choose a Granier brush to erase some of that texture out. By choosing to erase with a texture brush, you create a seamless Grady int on this layer and on all subsequent layers. I will turn on clipping, mask and drawing assist so that all of my painted strokes will be perfectly symmetrical for this new layer. Let's test drive a different brush. Let's select our colored pencil brush. We will sample a color off the layer and locate that color on the color wheel. Then you need to decide if you would like to add highlight or shadow to this layer. Next, Don't forget that drawing, assist and clipping mask both need to be turned on. So using the colored pencil brush, we will add detail to the very edge of these pedals. And just as we did before, you can go back in to your rice tool. Choose throwing shade or dappled grain and a race some of this until you like the effect of it. Because drawing a sisters Ellen, whatever you do on one side is being reflected simultaneously on the other side. I will show you next how to place dark texture under a layer to create a shadowed effect. First, I will select a darker hue of the same color. I am an and choose the throwing shade brush. Most importantly, you want to create a new layer above the layer you just created. We create this effect on a new layer because we want this new effect to be non destructive in case we don't like it. And we want to be sure that we put on clipping mask. You need to understand when you put clipping mask on this layer that it is clipping down to the solid pink layer, not the texture layer immediately beneath it. We will paint this texture just under the edge off these leaves so that the color is peeking out from beneath them, making it appeared shadowed to the bottom flower. Okay, I'm happy with that. I'm going to go back and add some additional detail to those layers. I'm going to go atop this middle layer. He going to put another layer on top of that and I'm going to go very bright. Got to use my chalk brush here with my child brush. I'm gonna add some additional detail to this layer. I wanted to be on top of the texture as well, but still clipped to this layer so that none of my paint strokes will go beyond this layer , I'm going to create some pedals. I'm pushing down with more pressure and then letting up off the pressure, pressing down more, letting up, pressing more, letting up. And I'm going to use my race brush toe add detail to the layer I just created. I'm going to use my model line brush for the race brush, gonna set it on a medium sized dot and I'm going to start here and just a race. Small dots and this layer I just created. Just show the underneath layer when I go to my colors and I'm going to go to a much brighter color, almost a white going to add a layer on top of that layer. Once more, I'm gonna clip it now. These layers that I'm creating are being clipped to this layer. They're not being clipped there. I'm going to use my textured flare tip brush. It's a very nice one for adding details such as thes pedals, because it's very smooth and I really like the appearance of it. So let's try this. We're going to start here and create petal shapes going like that, you'll note, when you use this brush that depressed down. You get this wide. Look, you let up, you get the flare tip. So press down, Let up, press down, let up. It's a very nice painterly look. Toe, add detail. With there we go. I might like to add another layer on top of that to give more detail in this area. I'm going to use the chalk brush again like I did here. But I'm gonna use a much darker color and maybe go slightly darker. Use my chalky texture brush. I'm still clipping this to this middle layer here because it is clipped to it. If I turn off the main layer, then the effects go away as well. We won't be creating this many varying layers with each layer on hair. Although you could just remember, you have a maximum of 30 layers on an eight by eight canvas. Once you reach 30 you need to look at your layers and see what can be combined, what you're willing to commit to. So well, let's use our chopped brush again and start here and do a little pedal out that way. The one here, there, there, and there were gonna use our flare tip brush. Put a layer on top of that for the time being and go ahead and delineate these pedals. This way, I'm gonna choose my model line brush. Instead of erasing holes in the center of this for detail. I'm going to put them in with the monoline, and I want to add one more line of detail. I'm going to do this. I'm going to draw a circle here that highlights the exterior of the center. I am almost finished painting additional detail on this central flower motif. I'm going to create another layer on top of this bottom layer. Then, with a very light colored brush, I'm going to add some scallop detail. I will be using the flair tipped brush for this detail, just as I used it. It's really easy to draw a scallop or an arch in procreate. All you have to do is draw a semicircle and then let your stylist or your apple pencil remain on the surface, and then the line will snap to a beautiful arch 7. Lesson 6 More Texture Part 2: We have completed the first portion of this lotus motif and will continue working on the rest of the elements. Next up, we'll be working on the green leaves. I'm going to select a color that is lighter and brighter than the green sampled color off the leaves, and I will also be selecting the chalk brush. To add this texture. I have created a blank layer immediately above the green leaves. I have turned on clipping mask and I'm turning on drawing assist. I know it's redundant to keep saying Turn on drawing assists, but it cuts your work in half. I wish I could clean half my house and the other half would magically appear with no dust and clean floors. Don't you going to create the veins and the detail in the leaves by pressing down slightly and then releasing my pressure? Because this is a very pressure sensitive brush because I turned on clipping mask. I don't have to be concerned if I start my stroke here and ended there because my stroke will clip exactly to this area of green, and now I'm going to continue doing this until I have a lot of detail strokes on this leaf . Okay, that's all I want on that layer. Now I'm going to go in, create a new layer, also clip it to the layers below. I'm going to make this and I darker green so that it contrast with the base layer. I'm going to use the textured flare tip brush for this additional detail on the leaves. Make sure you turn on drawing assist so that you are only doing half the work. I do create all of my layers at full capacity so that I can dial them back later and see if I like what I have. If I turn off the dark layer or if I turn off the lighter layer, I can see how much I really added in interest and dimension. By doing that, I'm going to go to this middle layer of detail here. I'm going to duplicate that layer. Once it's duplicated, I will turn on our block and then I will leave it on this dark green color, and I will tell it to fill that layer with the dark green color. Next, turn off the apple lock while you have the shadow layer in blue highlighted go to your arrow here so that it will also highlight that layer. By tapping on your screen, you can nudge that underneath dark layer two or three pixels. Now watch this green as I turn this dark shadow layer often on. And if you like the effect that it gave you in creating depth on that leaf, then leave it, then go to Gazi and blur on that layer only and slightly blur that layer. So it's not quite as strong and delineated. We have finished the detail on our leaf layer here, and we're going to be completing the rest of this area with this darker pink and this lighter pink now. So let's move on to this dark pink layer in the center of the sleep. You'll see it's those four images there. We're gonna add a blank layer above it. Make sure that we clip that to the dark pink layer and go ahead and turn on drawing assist . Now I do want to highlight the edges of these dark pink leaves with a color that will help it bland into this lighter pink. But more than that, I want to create a lot of dimension ideally and realistically, if this Greenleaf were laying on top of this layer, there would be a shadow beneath this, some going to apply that shadow effect first. An important consideration at this point is whether to make the shadow a dark pink like the under leaf, a dark green like the leap on top of it, or to go to the more traditional black. For a shadow, I choose to use dark green with the throwing shade brush shadow the green leaves on top of that. In this way, just a reminder. If you want to remove any off the shadow you just painted on, use your erase tool and your brush palette and do it that way rather than hitting the undo button. Let's select our color now for adding detail and texture to the dark pink leaves. I've chosen the throwing shade brush for this detail. So then we will stay slightly outside the perimeter of this leaf, softly building up our color, and our shading calf completed my light shading on the exterior of this leaf. If there's an area where I feel it got too heavy, then I will once again select my ratio brush and you can either stay with throwing shade or you can go down into dappled grain. And you can erase that particular line as long as you're on that layer so that you get a more gradual delineation there between your very light line that you've laid down and what the base color of that layer Waas because I have assisted turned on. I only have to be able to see one side of this because then whatever I'm doing on this side will of course, be replicated on the other side because I'm trying to conserve as many layers as I can going forward and because I know that I'm going to keep these layers the way that they are currently, I'm going to go ahead, merge them. We're now on the last layer off this first portion of the motif. We are working on this exterior light pink layer, just as we did with the Greenleaf layer. We're going to shadow the above layer onto this so that it looks very realistic. What we would want to do, in that case, is sample or choose from our palate. The light pink layer color go to a much darker Shea create a new layer above this light pink layer. Turn on clipping, mask and drawing assist. Let's go to our race button. Let's choose the dappled grain in a very small size and then go back into this and clean it up. But we're assured, because we're racing with a very grainy brush that is going to be a very gradual effect and not have a hard edge. I really wish somebody would come in tonight and cooked dinner for me. I'm hungry, but I'm tired. I don't feel like going to the kitchen and making a big mass. That's the thing at your house that you hate doing the most that you wish you had. Somebody come in and help you. I have that and I have cleaned my kitchen floors, my kitchen floors air so problematic for me. I've never liked them. It's a great big tile. It's 12 by 12 ceramic tile, and whoever lived in my house originally put this awful grout line that's so deep and so wide between the tiles. It gets so dirty, so fast, I swear that it collects dart. All I really need to do is Sprinkle some seeds and that grout line with the dirt that's already there had some water, and I think I could grow a little garden in my kitchen and just the grout lines. That might be handy. I don't know if the dog and cat would like it. Really? Okay, so we did that shadow, and now then we will go darker with it, maybe over into here, and we're going to go around the outside of those leaves and create a shaded effect. Here's what we have when we come back, going to be doing this whole centerpiece. 8. Lesson 7 Even More Texture: it's time to move on from the smaller flower motif in the centre front to the larger floral motif behind that in shades of blue, creating you layer. Turn on clipping, mask and drawing assist. We will concentrate first on adding detail and shadow on the center of this to create depth and dimension. First, select a darker hue than the base color and select your colored pencil tool. Begin adding this dark detail in the very center off this flower petal, radiating out until it resembles a seashell shaped. Erase any of the lines that you don't like to create the perfect shape. Create a blank layer under the current layer and choose a darker color to add more detail and shadow. Continue layering in the dark colors here in the center, radiating up until you like the shape of what you have created. Because I want there to be more texture in this center detail, I'm going to choose the erase tool and the chalk brush to enhance the detail. In this portion. I'm going to choose toe, lighten the edge of this area with a brighter shade of blue. I will be creating a new layer above this and using my throwing shade brush to add a highlight to this layer. You can also add a great deal of detail by using your smudge brush, you can smudge with brushes and textures from any of your palates. After selecting this layer, I will choose a brush from my palate and the smudge function. I'm going to be using the chalky texture brush. I will make strokes outward on this layer to smudge in that direction, making it almost look like a seashell in the center. After completing that, I'm going to merge these layers moving down the layer stack. I know that I'm going to need two layers on top of this layer because I want to create both a highlight on the edge and a shadow that's at a layer. So let's make it a little larger so we can see exactly what we're doing here. Can you see some of the nice texture that we're building into this piece? It's really much more obvious once you blow it up like it s in front, I'm going to paint the shadow in first, create a new clipping mask a layer above this one to add highlight So let's zoom out and get a better look at all the work that we've completed. It's looking pretty good. Create a new clipping mask layer immediately above the dark blue layer and we're going to be painting. Highlight into this in a different way, and on my disk, I'm going to bring it up quite a bit lighter. I'd like to highlight the interior of it here with a much broader blue and then do a dark edge on this one instead of a light edge. So it's a little opposite of what we've been doing. And I'm going to use throwing shade again the size of my brush about here, I think. OK, so I'm going to go in the center here. When you highlight something course in the center, it gives the illusion off the other two edges receding and makes it look, of course, like this highlighted part is raised. See how that gives us a different look and also it makes it look as though this leaf is being shadowed there so we don't need to go. Anna do any shadowing on this layer for the leaf because we're creating it by adding highlight here then we'll go to the lightest blue exterior layer here. I'm going to highlight it with almost a white color. Let's make a new layer. Sometimes it's hard to see when you're painting with white up against a white background. Exactly how much highlight you're adding. Sometimes you'll need to go in and alter the color of your background for a few minutes so that you can actually see what you're doing a little better. I am also going to add a shadow on this layer of this leaf on top of that one. So for that shadow, I'm going to go with a medium blue. So with this medium blue here and a much smaller brush, I'm going to go around the this edge here trickier, create a little bit of a shadow effect. Okay, I'm gonna add a new layer. And just for fun, monoline brush is a really good one to use for doing dots like this 9. Lesson 8 Finishing Up: we're going to do this purple layer. Next, Make a new layer, turn on clipping, mask, turn on drawing assist. And I'm going to add a little bit of additional detail on these. Before I began doing the shading sample this color ago very light and bright, I'm gonna choose my textured flare tip brush, which is a really nice one for drawing smooth lines. What vines and leaves and things like I'm going to be drawing next. So what I'm gonna do here is gonna start and draw a line right through the center of each of the purple leaves and then return that into a vine. I'm going to race a little bit here. I know I want to leave at the very top of this stamp, so there's gonna be a leave here like that. - So now I'm going to go in and add some shadow dimension to the exterior of this leaf. I'm going to choose a really bright color that is very close to the pink that I just used for detail. One more layer with a darker purple and I'm gonna use the chalk brush. I'm going to go right down the center of each of these leaves under the detail like this. It just gives me a bright vein of color down the middle of each of those leaves. Okay, I'm finished with those exterior lease. I'm gonna go ahead and flatten some of these layers so that I don't have so many and can continue to work. Okay, Once again, I'm going to shadow this leaf onto the one below, and I'm gonna use the original purple that I was using. Let's make this a little bigger so you can see what I'm doing here. - Can now go to switch back to my throwing shade and with the same purple detail the exterior edge of these leaves that were almost done here. It's exciting to get this far into the project. Just a sigh. Added detail a moment ago with my flare tip brush. I'm going to do that again. I'm going to go down to my very bottom layer of pink leaves first, since there's more of them at a layer above it with clipping mask on, drawing a cyst. I'm I'm going to sample this pink here, so I know exactly what I'm working with. And when I use my textured player tipped brush. Now you'll remember that we put these on separate layers the pink and the blue. So I'm going to add different detail on the pink and blue leaves just to separate them. Uh, out even more I'm gonna do is kind of a zigzag design on these leaves. Kind of like this. And since you have your clipping mask on, you could draw a right off the edge without worrying about going on your background. See, right here I can continue drawing and it layers it under that leaf. I'm gonna end myself another layer, though it's going to be under the detail. But I just drew So Toby there, I'm going to choose myself. I think like this and with the throwing shade brush go back and and do my my normal shading on the exterior of these leaves. You can see when we get down here close to this blue leaf. Why, I wanted you to put it on separate layers because now I can just continue on create a very realistic, layered effect there without my paint spilling over onto that blue leaf. If you get to the point where you think that your exterior shadow layer here, and the one here for the leaf is a little too close and not creating enough off a highlight down the center of that leave. You can either go back in in a race, or you can choose a brighter color like this. And if you want to, you can put it on this same layer and you can make your brush smaller and they just go right down the center of each leaf and add some highlight. And like that, There we go. We're going to complete the Blue Leaf in exactly the same manner, with a little different details. Then we'll be finished with this and we'll work on a background for just a few minutes. - It's there's what we created looking good. 10. Lesson 9 Add a Background: Now that I've completed all the layers of shadowing in detail on the lotus motif, I'm gonna look at my layer accountancy where I'm at Oh, I'm a 29 layers and I could only have 30. So I know at this point that I need to save it by clicking on gallery. Duplicate it. I will open the duplicated copy and I will combine some layers. The reason I did that is because I could change my mind. I could make a mistake. I could want a completely different color variation off this at some point, and I can go back to my previous versions. Always that have more layers than my current version will have. This way I can go ahead and combine some of these layers down and work on the background. And I just started the top merge down the layers that I can to give myself more layers to work on the background. I don't necessarily merge everything down, though I love having the maximum amount of layers to provide me with the maximum amount of flexibility. Okay, I have merged enough layers now that I have eight layers left to work on my background sometimes when I'm working on a design like this, I have a very clear vision of what color I want on the background or if I want to leave it with no color on the background and a transparent layer underneath so that I can pull it into other designs. And you always have that option as long as you leave your layers not flattened. But lots of times, I don't know really what color is going to go the best. So what I do is I go to the very bottom of my layer stack. And unfortunately, they don't allow you to click on background color and add a layer there. And what I want is are empty layers at the bottom of my stack to work on the background. So I'm gonna put myself a couple of layers in here, and I'm gonna have to move them down underneath this bottom part. So here I have one blank layer. I'm going to put another one there, just in case I need it, and I will turn this one off for now. So in this layer, which is immediately on top of my background color, I'm going to fill this layer with a color and then go to my hue and saturation sliders to see if that color is really a good fit for this piece of finished art. So you would just go to this layer, which is visible, Say feel layer and it will feel that layer with this color that you just added the top of your palate. Now, of course, that's not exactly what I want. I'm gonna make my image a little smaller on the screen so I can see the entire thing. I'm going to go to hue, saturation and brightness and play with the sliders to see what color family is going toe work best with all of these. So there's the grain that I've settled on. I'm gonna bring my brightness up first rather than doing the saturation first, I'm gonna bring it up to a a brighter color. Now I'll deal with this saturation. Do I want it to be a really vivid neon green or key lime pie green? Think I'm gonna leave it right there? I like that color. So this is going to be the base color that I'm going to use for this. However, I'm going toe. Add a couple of other colors with some of my texture brushes to the background. To accentuate this even more so I really did like a yellow family toe. Add some highlight in here. I'm going to start off with this one. Gonna put it on a separate layer on top of the green layer. Gonna choose my throwing shade brush A fairly large sighs Put this layer on top of the green and I'm going to make it look as though this color is rating a radiating out from behind the leaves. See, like this almost like a big son is behind it. You might have guessed already that I was a child of the sixties with all these very bright bohemian colors. Right? I'm going to add another layer here on top of the green, and I'm going to use my same brush for throwing shade, and I'm going to add a vignette, a soft in yet down here and another color. I'm going to start with a really pretty peach. I'm going to create the vignette with this color, and then I'll go back into my hue and saturation and see if I really like it. I'm just going to make a soft arch here at the bottom. I don't worry about getting it too dark because you could lower its opacity. Say I started out with peach. But by exploring and Thea Hue, saturation and brightness. Then I came up with a completely different color that I think accentuates some of these colors. Well, I'm going to take my race brush with the same brush that I just laid down. I'm going to make these edges a little softer by erasing them so that they bland of more. Okay, on top of this layer here would have put another layer. And I'm going to choose a dark color that's in my design about here. I think I'm going to create a shadow off the entire Lotus starting here. I'm not quite finished yet. I'm going to add some darker colors to the edges up here as a vignette as well. So one more layer going to sample my lime green color that I used there go into something a little darker. And of course I might change that in just a minute when I go to the hue saturation slider. But I'm going to do the same thing I did on the bottom. Except this is gonna be on my top corners. Okay, We have completed our lesson of how to take a very flat line, drawing how to separate it into visible layers. And then how to think of each layer as a separate motif in a much larger complex motif, had a shade shadow add dimension and add lying detail to create a very beautiful, complex and marketable illustration. I hope you've enjoyed this class as much as I've enjoyed going through it with you. I hope that you feel like it was a good way to spend some of your time and that you learned some skills that you can use incorporate into your own style with your own illustrations. I really look forward to seeing your projects and seeing your creativity at work.