Tawny Autumn Watercolour in Procreate using Brushes w 20 Brushes & Instructions to Make a Fall Flag | Delores Naskrent | Skillshare

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Tawny Autumn Watercolour in Procreate using Brushes w 20 Brushes & Instructions to Make a Fall Flag

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 12m)
    • 1. Intro Tawny Autumn Watercolor in Procreate

      2:40
    • 2. Overview, Instructions and Inspiration

      7:36
    • 3. Brush Installation and Finished Examples

      8:24
    • 4. Getting the Composition Started

      10:17
    • 5. Background Composition Methods

      6:59
    • 6. Fleshing Out and Detailing the Composition

      8:36
    • 7. Adding Text and Detail to the Motif Finish

      12:35
    • 8. Finishing Ideas and Mockup

      12:42
    • 9. Outro

      2:25
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About This Class

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If you’ve been in all the other classes in this series, you’ve learned plenty about custom Procreate brushes. Can you believe that there is still something to learn? I have a couple of other surprise skills for you! In this class, you will learn how to make one of the most interesting brushes of all, the pattern brush! Yes, that’s right: a fully seamless pattern, in a brush!!! Not only that, I will also show you a really great text effect in which I add a thick border to make it really stand out on the busy background! I can’t wait to see your class projects because there are so many possibilities with these techniques, and it will be amazing to see what everyone comes up with!

This new class, Tawny Autumn Watercolour in Procreate using Brushes, will show you some of my illustration and pattern design methodology, and ways to use brushes to create a garden flags and other commercial projects quickly. In the class, I take you from beginning to end in creating a full Garden Flag design, notably with realistic watercolour motifs and a funky mixed-media background. And, I have techniques to make many different looks! I use this method myself for creating a series, and I show you my progress in designing a collection of flags for art licensing. One of my goals is to show you how we’ll be able to use mixed media backgrounds that you import (I even supply one or two). But the star of the show is definitely creating and using the pattern brush for a border.

In this class I’ll walk you through:

  • my step-by-step methodical routine for making brushes in Procreate
  • tips for creating compositions for a varied and appealing artwork using brushes
  • my workflow for use of layers and other great features like snapping and layer blending modes
  • adjusting to perfect the layout and adding elements to the design
  • fully seamless pattern brush creation
  • methods for keeping the art fully editable for later adjustments and recoloring 
  • adding text and creating a nice, thick outline (it’s a great tip!)

If you’re an eager designer with a basic knowledge of Procreate, you’ll be able to go through all the steps without a hitch. The skills learned in this class will be an asset to anyone who wishes to simplify creation of multiple designs efficiently, especially for art licensing.

The key concepts I will include:

  • review of my brush alterations and adjustments
  • creating a Procreate pattern brush
  • efficiency and productivity approaches for your creative work

This is class is filled with abundant objectives, even if you are not sure what you will use the design for, whether it be for flags or whatever! Learning new Procreate workflows is always welcome. I assure you will create something really appealing, and it’s so rewarding once you get the hang of it!

Intro to Tawny Autumn Watercolour in Procreate using Brushes

This short intro will give you an overview of the class and we will look at a bunch of relevant examples.

Lesson 1: Discussing the Overview and Objectives

In this lesson, I will show you the objectives for class and explain the merits of the technique I use. I walk you through the beginning of planning.

Lesson 2: Brush Installation and Finished Examples

I will break down the complete process of installing the supplied brushes in this lesson. I take the time to show you the objectives of the lesson by showing you some of my current work and explain some of the critique I received from my art licensing agent. At the end I explain how to open the paper textures document.

Lesson 3: Getting the Composition Started

In this lesson, I will show you some of the key techniques I use and explain every step of the way. Learning to create a great composition must start somewhere and laying in a few of the motifs is how I get started. By the end of the lesson, you will have the beginnings of a layout.

Lesson 4: Background Composition Methods

This is the lesson in which I import a couple of my mixed media backgrounds. I call these grunge scans and it will help us start fleshing out the idea. This allows me to explain my design methodology with plenty of pointers along the way.

Lesson 5: Fleshing Out and Detailing the Composition

In this lesson, we start getting to the nitty gritty of the final artwork. You will see me use several different techniques to add interest and detail. I show you the specialty brushes I have created, and I explain the settings. Throughout the process you learn much more about brushes.

Lesson 6: Adding Text and Detail to the Motif Finish

At this stage, we pull our layout together, and I will go over the small details that make it work. I insert text and bump up the contrast on the white outline to make it really stand out. You will learn a great technique for a workaround on adding thicker outlines than Procreate offers. We take a quick look at other adjustments and talk about next steps. This will show you just how versatile you can be and how valuable experimentation is in your development as a designer.

Lesson 7: Finishing Ideas and Mockup

We will conclude everything in this lesson. First, I go through a bunch of the changes I made off-camera. I give you 5 or 6 ideas for borders and explain how I created the plaid pattern brushes. Finally, I show you a mock-up with the art and we end with a chat about next steps.

Lesson 8: Conclusion, Mockup and Next Steps

We will conclude everything in this lesson. I show you a couple of quick mock-ups with the art I have created thus far for art licensing / flags.

Concepts covered:

Concepts covered include but are not limited to Procreate layout with brushes, layering, transparency, Procreate brush stamps, Procreate canvas settings, compositing with imported mixed media backgrounds, Procreate snapping and guides, Procreate floral brush creation, art licensing, creating original brush stamps in Procreate, the Brush Studio in Procreate, adjusting Procreate brushes, making Pattern Brushes in Procreate, sizing of documents and brushes, using the streamline setting in the brush studio, compositions with brush stamps, adding texture brush stamps, procreate brushes for adding interest, workflow best practices, painting best practice, Procreate composites, techniques with paints and blending, and much more.

You will get the bonus of…

  • 1 hour and 12 minutes of direction from an instructor who has been in graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • an outline with links to further research
  • a list of helpful online sites to further your education into surface pattern design

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer

Teacher


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

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

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Transcripts

1. Intro Tawny Autumn Watercolor in Procreate: Hi guys and welcome. My name's the largest asteroids and I'm coming to you from, well, not full sunny Manitoba, Canada. We're having kind of a rainy spell here. It's actually welcomed though, because we have had such a dry summer for today's class I'm bringing you will help us to kind of transition from summer into fall. I've been asked to produce some Ball themed flags. So that's what I've been working on this last week. I've been producing these and procreative course. So if nameless class Tawny autumn watercolors in Procreate, we're going to be doing a lot of the same things that we've done in the Walmart for POD class and the fantasy gardens. But I've got a few other things that I wanted to teach you and I think that this will work WHO grade? You'll learn some extra techniques beyond what I've done in the past. And you're going to end up with a really cool flag artwork that you could submit for art licensing. I'll also let you know about a site where you could upload your artwork and just order a flag of your own. Whatever. It doesn't really matter. What you do with your artwork is all up to you and believe me, you can apply everything you've learned in this class today too much more than flags. The type of file we'll create is completely layered and totally adjustable so that you can use it for POD and easily change it to the proportions that you need for that. We're going to be experimenting a bit more with my brushes. And we're going to make a couple of pattern brushes. So not just texture brushes but patterns. And this is a fun way to add some extra detail to your artwork. Now if you haven't done so already, can you hit the Follow button up there? That way you'll be informed about all my classes as I released them. I'm trying to keep up a pretty steady paced of a cloud so weak at this time before we hit the road in December to go to the US. So I'm trying to get ahead and am working feverish lead to produce these classes for you. Now while I have the chance, I want to also thank you so much. I really appreciate it and I feel really honored to be teaching you week after week. Thanks so much for following me and for checking out my new classes. It really gives me the incentive to do more. Thanks also for uploading all your projects. I find that to be so rewarding to see. Many of you have shared or tag be in your social media posts, and I appreciate that so much. So are we ready to get started on this new projects? All right, let's get into it. 2. Overview, Instructions and Inspiration: Hi guys, welcome to lesson 1. And less than one here we're going to just take a look at some inspiration. I've got a little bit of an overview for you. So let's just get started. So as always, I do want to start this class with a little bit of inspiration and kind of the way I go through exploring and trying to decide on a look for artwork and I'm going to be creating. So I've created this artwork in response to a call out and I've been working on florals. And that's what we did in the last class when we produce large floral artwork for Walmart. This set of illustrations that I'm doing is more for this call-out. And most of the time I'm giving kind of a list of things that we're looking for for the upcoming couple of months. One of the call-outs is for flags and fall art for that. So I think that I'm going to be doing, of course, this fall art. And then I think in the next category, there's going to be winter, which would be things like Christmas and so on. And I'm not sure about the popularity of flags here in Canada. We actually don't really see them as much here as we do when we are in the US. So it's a thing, maybe a US thing. We do see a lot of it in RV parks ourselves personally. So I'm not sure what the actual market is for hearing Canada. I've seen a little bit, but not nearly as much as we see them in the US. So this color, I believe is for Lowes. And when I do this, the agent but I'm using actually send them out to more than one buyer, of course. So I started out by going through and trying to find some inspiration and I wanted to really kinda check how new and unique color schemes. So I'm finding that I see a lot of new art coming out with the sort of combination of colors for fall. So a little bit of teal added in there. And this piece actually really light gets very, very textural. And this is something maybe I'll try to incorporate as a painterly technique. Looking at this for inspiration, it kind of helps me out when I get into procreate and I'm trying to create that sort of a watercolor look. So the next stop, of course, was Pinterest. And here I found a ton, of course, fall-related painterly images. So tons of the colors that we saw in that other search, and also lots of motifs. So this was a good way to get some ideas. And they weren't really just looking at this one on yeah, I think we were looking at those leaves. And that's really pretty I think the realistic kind of leaves a little bit more realistic than what I was doing. But I also like it when you do click on something and then you get a bunch of related images. And wow, I love this color scheme here. This one is absolutely gorgeous. So that's another thing you know, you're always, as you're looking for inspiration, there's tons of different things that inspire you. It's not just the motifs, it's not just the color, It's not just the technique, it's just a little bit of everything and this one is super inspirational. In fact, I'm going to save this to my leaves and trees board, and that was my next stop. Anyhow, I was going to show you my own board where I've collected tons of inspiration. And you can see actually right up here on my profile because I've been saving trees and lots of different color schemes and things. So it would go into my boards here, the one I would want you to take a look at where you're going to find a lot of inspiration is this leaves and trees illustrating photographed. And so here's that one I just added. And a ton of other things that inspire me in, like I said, many different ways. So sometimes it's the technique. So this one I really loved, as, you know, really a stylized kind of a forest with tons of texture. I can see my soft, easily creating this in Procreate using, maybe the last use kind of a selection of a free hand selection tool to add texture onto shapes that I've also drawn in that way. So I think that is a possibility. And I'm having all of this stuff kind of running through my head as I'm looking for inspiration. And, you know, as you go through my board here, you know, this is collecting over a long period of time. So you'll see a lot of different sort of techniques and styles. I love the work of Tiffany Calder Kingston. So that's work like this. I really loved the work and always I think I've mentioned her in numerous classes of Este McLeod's. So she's someone whose work I often go back to and take a look at. And you know, as you work your way down, you're going to find all kinds of different techniques like check this one out. Like so gorgeous and really a simple collage technique, newsprint to make the tree. And then she's added little things like the birds, which appear to be some kind of cut out maybe from a magazine or something. And then this really nice soft pastel kind of a look or maybe acrylic painted background. So all of these things figure into it as I am looking for inspiration. So when I am taking you through these examples that I find or have, none of these would be anything that you would copy of course. But all of that feeds into your hard drive, your mind as you start producing and creating all of the things that you've seen, all of the things that you've researched all sort of come together to give you kind of a starting point for your line or for your new collection. Now, this work I love and I found the artists and took a really good look at the work. And that's, you can also do is go back to or check out the individual artists themselves because they also progress and grow in. And you'll see a lot of the things that change for them as they have evolved as artists. This work is by your Oroville or IRA. Well, I'm not sure how to pronounce it, but if you check it out, you'll see what a gorgeous technique that is as well. There's a lot of these really stylized trees that reminded me of those projects that we did in one of my other classes. So yes, your Iwill check her out. So all of those things are really great for inspiration and I really encourage you to do this when you're starting your project. And also go through and collect, make a board and save some of your favorite pieces onto your own Pinterest boards so that you have that to go back to when you are ready to start a new project. Okay, so that's in a nutshell, your inspirational lesson for the day. In the next lesson, we'll take a look at how I go about just kinda starting my projects. And I'm going to show you a few examples of work that I have been doing. All right, so I will see you in that next lesson. 3. Brush Installation and Finished Examples: Hi guys, welcome to Lesson 2. In Lesson 2 here I want to show you how to install the brushes that I'm giving away. And I wanted to also give you some inspiration. So I'm going to show you some of the artworks that I've created. Okay, so let's start with the brush set. So you're going to get the brush set and it's going to look like this is going to say sampler autumn. And I might change the name to brush sampler autumn or whatever, but you're going to hold your finger down on it or your stylus. And what you wanna do is hit uncompressed. Once you have it here, what you're going to do is hit open. And when you do that, it's going to open rate into procreate. And you'll see that when you are looking at your brushes, you will have the sampler here at the top. Now I have three because I've apparently done it three times, so I would just click on it and hit Delete. And when you are in that brush set, you're going to see all the brushes that I've given you for today's class. So I'm not necessarily going to be using these exact ones, but I'm giving you enough of a variety that you can put together an artwork. And I've done a few in this style because I obviously, I'm producing some for art licensing. So let's take a look at some of those. This is the one that I used for my lesson titles. And as you can see here, there's a lot of layers. So there is everything from paper and affects the texturing all the way down to type background and lots of different motifs. And you can see here on this one that I've got the alpha lock on. And yes, so I'm doing a lot of different things with these files and I'm going to be doing a project like this with you. And for me, the beauty of it is that I will have another artwork that I can then submit for art licensing. So I've done a variety here, a kind of experimented with different techniques. I'm not sure exactly how it's going to turn out. This is one that my agent actually really liked. She liked that it was really painterly that there's a lot of variety with my finishes. And you can see here that I've even gone so far as to take my line art, florals, the ones that you saw me use in that last class, and add kind of a watercolor edge to it. So a couple of these I've already sent into her. I think actually I've sent all of these to her because I wanted to get a critique. And there are certain ones that will work best for what we're producing right now. The one that she did have comments on was this one here. And if it was to be used flags, the type style that I used here is not conducive to that. So I know I was kind of thinking along the lines of the other uses that she could possibly have for it. And it was pretty cool kiss. She did say that she would submit this to a different company altogether and that it would be a lot more conducive to, let's say a greeting card. So it's sometimes this is the way it happens. You produce the artwork and not all of it is adequate for that call out, but could possibly be used for something else. And I just in this case was experimenting with color more than anything. Oh, I've got a bunch of pallets that I created specifically for this project. Some of these are pellets that you've seen before and we are going to be producing a few other pallets just to have kind of that experience. Okay. So like I said, I'm experimenting with a bunch of different looks. But I think for today's class, we're going to be kinda focusing on something like this. I am trying to get them a little bit more painterly because that is one of the comments that she passed on to me and her critique that this work would be the cube is okay with this one. She liked it, but she's encouraging me to go even more painterly. So we're going to try to accomplish that with this class. So overall, you'll probably end up with something like this. And of course you're going to have your own color schemes and your own ideas, composition. So for the most part with these, so let's go into this one here. You'll see that I've used brushes and the brushes that I've created myself. So I had those flower brushes that you saw last time. And I think every time I do a class you've probably seen that there'll be more flowers added to this. And ultimately my goal is to sell the brush sets as well. What will happen though is if any of these are picked up for licensing, I would not be able to use the brush. A lot of times when you license, you can't use a motif that you've used anywhere else. So that's why I'm kinda producing a ton of these because I don't know which ones might get picked up for licensing. So I like to have a variety here so that if I have to eliminate, you know, let's say I've used this flower here. I would have to eliminate it out of the brush steps. I wouldn't be able to use it again, not for art licensing anyways. So those are the ones that you have seen. I'm pretty sure you've seen a lot of these anyways, and then I have leaves that I had been starting to do. So I'm doing a collection of these for a brush set as well. And same thing, like I may eventually be using these to sell as a brush sets. So we're going to add to this sense. And then I also have been adding to my trees sap. You saw some of these in use in the past in my classes, I think in the fantasy garden class that we did, I use a couple of these and added a few more, but there's even going to be more added throughout the class. So you'll get that experience with me as well. I'm also kind of working ahead into winter. So as I sit and watch TV, I am often creating these snowflakes to so in the evening I might be doing illustrations about a, it might also be working on brushes. So I've got that on the go and one of my upcoming classes will be on producing a nice winter themed art so that I have in my flags category. So I've produced a couple of them here as potential flag artworks. And I'm really just starting on that because that's a little bit later in the season, so I don't have to I mean, it's going to be the next thing, but I don't have to do that today. So that's going to be a class that I have coming up because I'm adding more and more to it. I've submitted this as well, and I'm just trying to get a feel for what my agent thinks will sell. And she really loved that snowman one. I don't know. I have a fall one in here. Well, yeah, I'm working on false flags to That's right. I'm all over the place. I'm sorry, but yes. So I've got the Christmas ones here. This is where I put all my flags. So for fall, this is very similar to that artwork that you were just seeing. And I've added lettering and what not to kinda finish those off. Now these were kind of interesting because I've also added a bunch of, let me turn these off my own mixed media backgrounds that they have kind of in journals. So I've got all these old art journal pieces that I'm going to be using to kind of add to the background. So I've got some of these just to, again, make them a little bit more painterly, a little bit more hand gun looking. So maybe if we get a chance to be, I'll actually import some of those to add to the background so you can see how nice that works out. So I guess that's it for what we are going to be doing. I wanted to kinda give you an overview there and get you set up so that you've got your brushes imported. Now if you were in my other classes, you've probably got my paper textures already and I'm going to include these with the course materials as well so that you've got the watercolor paper and then all of those overlays that we've been using to add texture rate. So you basically do the same thing. You will get the compressed file, open it up, and then once you've got it, decompresses, you'll have the document. It'll look just like this. I think it's even called paper textures or watercolor paper. And you can just open that out straight into Procreate. All right, So let's meet in the next lesson story for all this setup kinda stuff. But in the next lesson, I promise we're going to actually be getting to work on our nice fall themed artwork. So I'll see you there. 4. Getting the Composition Started: Hi guys, welcome to lesson 3. So we've got a lot going on in this lesson here, we're going to really start to work on our composition. So because of that, we're going to need to make some brushes. We're going to need to import paper. We're going to start adding motifs. And we're also going to talk about a color palette. Let's get started. Okay, so I thought I'd start this class by showing you again about making the brushes. And I'll do that really quick. I know you've done this a couple times with me. I'm gonna go to my brushes, documents or setups. And let's just add it to this one. Here. I would shut down any of the layers that are not needed at the moment and we can add a new layer anywhere here. It doesn't really matter. I've got this background white and that's from this background color here. But the fastest way to make the brush for me is to a copy and paste. So I'm going to do a white layer underneath my blank layer. And that's going to be how I get the exact image that I need for the sheep in the brush studio. So I'm going to just switch to a black pen here and you can use any, you know, whatever your favorites are. As far as brushes, I have this tapered brush with pen pressure that I've given away in a couple of sets. So you probably have this. And what I would do is just go ahead and draw the leaf here. Now, if you're a little uncomfortable, which has going for it, you can add an additional layer even and go with your sketching. Let's grab this pencil and you can kind of roughly sketch out a shape for elite, an oak leaf is usually pretty darn easy to draw because it's just all these curves. And then you can decide no, am I going to add beatings, cetera, et cetera, and put that in on your sketch. Put your sketch underneath the layer you're drawing on. Reduce the opacity, and then go back to your drawing layer, grab that brush that you want to use, and just go for it as far as the Incan gold was. So, oops, wrong layer. And I'm just going to go through now I've got this streamline set a little high on this one at the moment. So I'm just going to bring that down a bit so I can get a little bit more accurate. And basically following my sketch. If it's a little bit different, a, well, I'm going to add meaning on this one. And so this system thing that it's up to you how you want to do it. Whether you want to have like a nice thick vein all the way up or whether you want to have outlined stem somewhat like that and it gets so much. Okay, I'm in the wrong angle for drawing, but I just want the single-step myself anyways. So I'm going to go and just picking that up a little bit. And I'm not going to be super picky about little things like this little bump that I have here because I think I want it to look and done so I don't want to be too perfect with it. So I'm going to add a few other details with the veining. Again, I'm at the wrong angle here. So what we should do and this brush, because it's a tapered pen pressure brush. As I press a little bit harder, I get a thicker line. So that's going to work for me. Now I'm going to delete the sketch. So I've got just the brush here and what I'm gonna do is pinch those two together. So we have the white square in behind here. That's important. You need that three-finger swipe down and coffee. And then I can go right into my brushes, into my leaves category. And I'm going to add a leaf by duplicating this one. And this is supposed to see here and there to hit the done here. And now I can just go in and edit. So I've just clicked on the brush, it opens up the brush studio. And here I want to go into the Shape Source, Edit, Import, paste, and hit done. And I've got my little leaf there. Now, I also go in and do a duplicate of this, of this layer and I grab a lock for the background. Sometimes I work in reverse. So if box white as the background with a solid leaf, it doesn't really matter in this case here you see, I've got this problem here at the bottom though. Actually I'm going to undo that, fill, do it again, and I'm going to make sure that I drag it far enough that I don't have that little sliver of white that was showing there. And then I'm going to switch to a white brush so that I can add that bit of stem here at the bottom. Doesn't have to be exactly the same. But what this will do is give me an alternate brush that is a solid, you'll see in a second. So now I'm going to three finger swipe copy, go back into my leaves category. I'm going to duplicate that leaf. So that was this one here. Hit the Shape. Edit, Import, Paste, AC. Now I have the solid leaf. Okay, so I've got this here together, which is really great. So now I have that as an additional brush for my set here that I can use R eight. So that's going to be probably one of the ones that I use. So now let's go back into the gallery. And here we're going to set up a new document. So I'm going to go back into my fall themed art here. And I'm doing these really large. You don't have to do it this big. I'm doing it this week because this is what I need for art licensing. So just in case I'm going to be using it for other purposes than I have that large document that I can use. Or I could go in and I could do a flag. So maybe that's what I'll do is apply. So I'm gonna hit this as my file size here. So I've got the exact proportion I need for the Flag Art. And I want to add those textures in there. And I think at this point, all I want to do is add the watercolor paper. So I've saved that. If I insert a file, I can go to my iCloud Drive. I've got this and saved in Procreate assets. I've got paper textures here and here's my watercolor paper that I can import. So that's just something that I can't remember honestly whether I bought it or I scanned it myself. I'm going to hit Magnetics here so I can line it up in the corner and I'm going to hit Freeform so that I can have it fit perfectly. And there you go. I've got my watercolor paper now I know that I usually set this on Color Burn so that it will blend with whatever I am putting in in the background. So then that layer, I think at this point I can just lock it. So I'm going to swipe to the left, hit Lock and my document is completely ready to go. So whatever I do now in the background is going to have that texture. So let's just rough background in just to get started, I'm going to go to my brush set here. And we've done this in a couple of other classes by just putting down some color with any random brush. So it doesn't really matter too much Actually now that I've got that watercolor paper there, now what I wanna do is import couple of color schemes that I can use. So again, what I do usually is go into Pinterest. I've been saving a ton of pellets. So go into my own. And you're welcome to use these two. I just have c of these into my color palettes to love board. And let's just grab a really pretty palette. So I'm thinking this one here. I like. What I usually do is I just use the two buttons on my iPad here to do a quick screenshots. Open up that screenshot. And honestly I could use all of these, but left narrow it down to one. Do we like the best? Let's grab this one. I probably have something like this already, but I'm going to just hit Done here, save it to my photos, and then go back into procreate and go into my palette. And I'm going to add a new one here, the plus sign at the top. And I'm going to do new from camera or new from photo, sorry. And just open that one up and it instantly creates the new palette for me. Let's try it again. So I'm going to hit plus here at the top, new from photos, grab that photo. And yet that must be the palette there. So I'm actually going to, I'm going to indicate that as my default. And now when I go into my disk or even in my classic view, this will be the palette that shows up. So we're going to probably work with that palette. It's so easy though honestly, you could go and do three or four of them and import them and that's what the way I mainly create my pallets. So sometimes I'll just find a picture online and not go into Pinterest at all. So I could do basically the same thing. Find one that is really pretty well, I really like this one says caught some of that blue in it. So the same thing, I would just hit those two buttons, same time. Open this up and isolate the image that I actually really want the colors to be taken from. And you can also just isolate parts of the image that you want. So I'm going to hit Done here. Favorite two photos. Go back to procreate, go into the palettes by hitting that little pallets. Image here at the bottom, add a new one and new from photos, grab that photo. And now I've got another palette here. So we've got all these palettes. We're set up with our documents. We've made a brush, so now we can definitely get started with our composition. So a lot of times what I do is I just start dropping in a few different images that I might want to use. I may start with that, you know, So I be, let's say putting in. So let's, I'm gonna use this one that I did before. So I want this one to be the one that I work with. And so I would just maybe grab one of these colors and create a new layer and then put in that first leaf. Now it could be anywhere because at this point you can go ahead and rotate it and reposition it. And I'm going to turn off the snapping from now on so that I've just got the leaves. So I might do that with a few of the leaves just to get started. Let me be switched colors, add a new layer. And again, just go ahead and just roughly start resizing the images. I'm really not thinking as much about the composition at this point as I will be leader by. This is how I started and this is the basic setup that I use. So I think in the next lesson, what we'll do is we'll just expand on that composition a little bit more, adding all the elements that I think that we'll use arrays. So I'll see you there. 5. Background Composition Methods: Hi guys, welcome to lesson 4. So I've got some new ideas here on things that you can do to make a really interesting background. Let's get started. So a lot of times when I'm about to do the composition, I really want to start adding a bit of the background because that also influences where I'm going to be putting my motifs and we're going to put my lettering and so on. So we're going to do a couple of different things. I'm going to add a layer here and then we're going to do some watercolor painting. And I think I've showed you that so many times. You're probably sick of me showing them to you, but maybe in this you'll hear something a little bit different than you have in the past. A lot of times I just kind of lay down a bunch of color on the background layer that I'm doing. And then I use my blenders to give that watercolor texture. I'm going to actually pull this off. I don't have to keep going back to it. I can show my palette here, or a switch back to my different interfaces here for working with the color. But right now this is going to work just great. So I'm just going to lay down a bit of this color. And what I'm gonna do differently in this class, as opposed to a few of the other ones that you've seen is, I'm going to combine what I'm doing here with an imported grunge kind of a texture. And those are usually some kind of combination of collage and acrylic paint or whatnot you'll see in a minute. So I've got enough color lay down here that I can go in now and grab my blenders. You can decide how textural you want it. You can use the blend terrific, which is the one that you've been given in a few of the other classes. And, you know, you're basically just dragging the color around and kinda deciding on how you want them to blend. If you start within one of the colors, that's the one that will blend out. You can tie it into the other colors. You can grab white. So once I've got that done, the next thing I would do would be to grab one of those grunge backgrounds that I was talking about. And I just grabbed one of my own sets of backgrounds that I have here on my artist's resources page. So I'm not sure which one it might have been this mixed bag run. I've got a couple of graphs, stats here so that I have saved there called Grunge something or other. And here are all the grunge scans that were in that set. So let's import and you want to get something a bit painterly. I may end up grabbing a couple of these. Let's grab this one for now. So it's importing and I've saved these files are quite large and it looks like it fits almost perfectly. So I'm going to just use the free form here and just have it fill completely so it's opaque at the moment. And you see I've got it above that other layer. And this is where I would do a bunch of experimenting with blending modes and such to try to come up with a really nice look that shows both the texture I've imported and that background. And I kinda like that overlay and that's kinda neat. I suggest you do this, you know, experimenting, especially when you're first developing the style because it really helps you kind of establish a way of doing it. You can also experiment with the opacity. And I, I really like how painterly this has ended up looking. Let's grab another one too. So let's insert a file. I'm piping grunge again because I do not know where I've saved it. And let's grab something even with more texture. So something like this might work. The color is not going to be right at all. Or maybe this one here actually, the color is definitely not going to be right, but we can work with it. So look at all this great sort of grunge stuff that's going on in the background for some spatter, there's some paint. I'm going to move it around. As soon as I hit this selection indicator, the file gets cropped. And to check out some of these blending modes again, before I even change the color. So this is kinda neat like in here you can see how it's adding some really nice textural details. The lighter color worked really nicely. Overlay works nicely. Pin light works quite nicely and we can of course, reduce down the opacity. Once you see you've got a really nice blend happening, you can definitely experiment with the size, resize things as necessary, and then also go in with your hue and saturation and brightness and do some experimenting. They're like You might want to almost looks best at the exact color I brought it in with, but let's try desaturating a little bit, maybe darkening it up. I'm really liking what's happening here. Not so much the stuff up here, but of course, that can be cropped out as well, so we can just keep working on it until it makes sense. And I think it would be okay because I would also probably want to be putting a border on here if it's a flag. So I can kind of not worry about that area right there at the moment. But I do love how really painterly and try and grungy is going to look. So let's work with that for now. Okay, so i else here, I also would recommend that you start adding a little bit of texture. It may not be your final texture that you want. You may add more is what I'm seeing, but it might be nice to add a little bit of it now to help you kinda work through what you might want to do with the positioning of your other elements. And you know, with that background, there were some little motifs that were added. And so now we have these things to work with, which helps us get a bit of a direction, which is kind of an important thing at this point, especially when you're just doing this creation. But I want to add some texture. So I'm going to go into my textures category here. And I'm thinking that I want to just kind of experiment a little bit with adding a border at the top here. So I'm going to take one of my textures that I've created, grab one of the colors. And I think I want to go kind of neutral. Maybe we'll try something like this because this is so dark. So let's see how that would look if it was added, let's say at the top and the bottom to create somewhat of a border. So that's kinda need is sort of like a line of block texture as if you've, you've taken your knife and done some gouging on a lineup block and you've added that print here mixed media piece. So I'm starting to really feel like we're getting a composition happening here. I'm feeling now that I want to add more of the motifs so that I can start to fill this out. So I think we'll do that in the next lesson. So I'm going to take a little break here and get something to drink and I'll meet you there. 6. Fleshing Out and Detailing the Composition: Hi guys, welcome to lesson five. And less than five here we're going to really start fleshing out our design. We're gonna be adding all kinds of little details. Let's get started. Okay, so I've done a couple of other things here to add some interest. And one of the ways to add this texture, which I think I've given to you in other classes. It's a brush and I just add a layer. So let me just take that one out and use the brush. So I'll grab it. It's in my regular brush, sets. A call it the big texture riser and softer brush it on. And you can see that that is adding quite a nice texture there. And it's that I created just from one of the grains that is in the source libraries. So you could create a brush like this. That is, you know, specifically what you want. You might want to have a Canvas kind of a texture in the background or have watercolor. Look. There's a couple of stain paper things here that worked great for watercolor, might want to have a distress Canvas. So really rushed like that if you've got it and I pick you do for one of my other classes. And all you have to do is duplicate it and go in and edit the grain and grab something else that you think would be more EPA look that you personally are after. So there might be a nice one, so let's grab that one. It's a beach with stolons kind of maybe shells and hit Done. And then experiment by adding a layer. And I'm going to do that when dark so that you can really see what it would look like. So depending on the size you want it, you'd go in and adjust your brush size, paint that texture all over. And then go in and experiment with your blending modes here and see if that adds a kind of interests that you're looking for. And of course it depends on what color you use. But you can see how that could add a lot of fun and interests. So when I'm doing these classes with you, whoops, printed delete here. I'm trying to just give you ideas and methods that you can take, examples that I give you but make them your own, okay? And you can do that to apply textures to leaves and stuff too. So I definitely want to show you some of that. I'm also going to add to some of the other textures that I have here just to fill up the page a little bit. So here I could go in and add any of these textures I've created in whatever color that I would like. So I want to get my I could have it there. Okay. I want to maybe add some of the orange genus in there so I could put again at full strength there or I lighten it up like the opacity to add a little bit. Couple of the other ones I like a lot are crazy dots. I've used quite a bit. Surprisingly. There maybe I'd go a little bit smaller and just add a little bit of stronger textures. And I haven't even really started with my composition of my foreground items. But I think this makes it easier. I definitely find it makes it easier for myself anyways. And just get rid of this here. Now remember, choose any brush to be your eraser and make it any size. Okay, so let's add a couple more of the motifs that could make a nice background here. So I'm going to make a new layer. Again. I'm going to go underneath that texture this time. And I want to add a bit of a tree silhouette. So these trees are really flexible. You can choose your color. I don't know why I keep closing that. Choose a color that you think would be suitable. I just use the stamp kind of in the middle of the page at first and then I take and position. And when I'm doing this, I'm thinking about the composition and the interaction of the elements. So it's, it's starting to interact with that background. And I want to decide on how old or how subtle I might want that to be. And again, the best thing for that is the blending modes. So I can go through here and just run through them a little bit to see how they work. A car like this multiply because it shows some of that texture through on the tree. And the course I can reduce the opacity anyways. So I'm going to do it about there. And I'm going to move these other leaves around a little bit at this point just to get an idea of how much more I might want to add. Keep them in the middle at first because I don't want them to be cropped. And maybe right now what I'll do is I'll duplicate that so that I can move one of them off a little bit. Once I hit that, it is cropped, but I could take this one and I wanted to do uniform. And then I could use that motif, possibly elsewhere. And I could change the color of it and maybe the texture of it or the blending mode so that it's not exactly like this one here. So let's try each of those things. Let's try hue, saturation and brightness on the layer. And just kind of slide around checking the different colors out. And You know, I'm trying to keep in mind my color scheme here as I go. Like the green looks really good, but that's not really part of my current color scheme. So I think I want to be a little bit more golden, rusty kind of teaching maybe. So kind of okay. Maybe we've even something like that. So there's another idea for things you can do with your brush motifs. And I want to fill this out with a couple of more leaves. And I want it just kinda find something a little bit different. Maybe one of these outline leaves would be kinda cool with it so that colors, okay, I'm going to add a new layer. I'm going to go to the biggest size. I'm going to stamp it right in the middle. And then I'm going to experiment with this one, positioning and rotation. And if I don't commit by hitting that again, then I'm not cropping it as I go along. That's kinda what I do is I do that sort of positioning stuff. And then at the end, once I know I'm happy with the positioning, then I'll go in and hit that to commit it. I think I'd like to best down here, and I'm gonna hit this to commit. And so I've got another one of my leaves position. Let's see what else we can do and you know what, we don't have to stick to leaves. At this point. I could go in and grab one of my flowers that I might find combines well with the leaves. And just think about like do you want a solid, you want an outline? What is the kind of feeling that you want out of it and really liked this funiculus. So I'm going to add that in there. And at this point maybe change the color to something a little bit more. Stamp it in there. Let's go big. And this one I know I'm going to pull off to the side or combined with one of my other motifs, a support. And this is actually very hard for me to do, to be talking and walking you through this as I'm doing it because I find that I am not in the zone in the same way as I am when I'm producing this kinda stuff when I'm off camera. But that's okay. This is a good exercise for me and I do like that. And, you know, I'm really getting there. I'm feeling like it's not taking me too long to do this. I see that this one was cut off, so I'm going to enlarge that even further so that I can work with that little bit that was cut off. And I really think about when you pull quite a ways down and you can see here that I'm leaving a really nice area frame. My text, which I don't even know what it is I'm going to add here yet, but I did notice I had an email come in from my agent and this is the stuff I sent her yesterday. So I will end this lesson so I can go and review what she has said. In the next lesson. I think we're going to start putting in some of the text and working with some of these leaves to make them even more textural than they are right now, I really want to get that hand painted look. So that's what we will do in that next lesson. So I'll see you there. 7. Adding Text and Detail to the Motif Finish: Welcome to lesson six. And less than 6 here we're going to be adding the text and I'm going to be showing you how to add an outline to it. And then we're going to be adding a bunch of other details to our motifs to make them more interesting. Let's get on it. So it turns out that that email from my agent was about something completely different. What she wanted to do was have me take a look at his company and how they use florals on their products. So I was also in the middle of doing some designs for table talks. So I haven't, This isn't to do with the class I'm teaching right now, but this is another project that I'm on. And it's interesting, you know, to get this kind of information from my agent and kind of give me the direction I need and looking at this stuff. I mean, how hard would it be to produce brushes to do this job? So this is something that I'm making as a class at some point, but let's go back to my current projects and yeah, just want to show you that. Okay, so I'm going to do two things in this lesson here. One of them is going to be to add detail and make these leaves look a little bit more painterly. And the other thing is to add some text. So let's start with adding the text. I think that's going to dictate what we do with a lot of these other elements in the background. So I'm going to go to the wrench here and add texts. Now, this type style is probably the one that I'm going to use and it just happens to have been selected from the last document that I was creating for this project. And this is style that I really like because it is nice and bold. So let's go in and type the word Welcome. I'm going to start with that and I'm going to add something else. Something fairly simple. Let's just do it all. I think I'm going to change the font for that second lines or I'm going to double-click on it and then pull the little handle here and go in and choose a nice bold typeface. I've installed a few of my favorites here. A lot of times I don't do this part of the setup here in procreate. Sometimes have you, but not always. And so I don't have a ton of fonts actually installed. Or at this point, I brought my favorites and I've got the ones that I needed for the current projects that I'm working on. So let's enlarge. Actually, I'm going to enlarge everything. I want the word Welcome to be really bold. The rule of thumb for these flags is to have the type quite large so that it can be read from the street. Like let's say you're walking down the sidewalk and you see a flag at a person's house, on the front of the house or whatever that you would be able to read it from a distance. So I'm going fairly old and fairly large here. I'm gonna select all by triple clicking. And I'm going to also tighten up the letting. And that's the space between the lines. And I'm going to change the color of this back here. Maybe actually I'll do the word Welcome to be darker. So that one, I will change to a fairly dark brown that I have here. I'm happy with the size here. Let's put this snapping and magnetics on so that we can center it perfectly. So that's done. I'm going to turn that off again and I'm going to do more stuff to make this really stand out. So at the moment it's a little bit lost on the background items here, but I think I want to actually tighten that up a little bit more. So once you've committed, you have to go to the layer to edit the text and you get the dialog box come up and you can make additional changes. Tighten that up a little bit. So yeah, I'm going to add or change things here so the text stands out a little bit better in a minute, but I wanted to do a little bit of work with the leaves here just to, just kind of, I don't know, make it a little bit more painterly and then at that point will come in and do some changes with the type to make it stand out, we must walk through this first and then it'll probably be obvious what colors to use and so on. I'm going to start by texturizing that leaf and making it look really watercolors. So the way I do that is by doing the alpha lock on the layer, so that will prevent anything from happening on the outside, the leaf. It'll just happen to the leaf itself. And I'm going to go into my brush set and grab one of my blenders. And I think I'm going to try this watercolor blends smooth. Now when I use this, it's going to just move around the color that's there. You can see here that as I'm doing this, I'm getting some of those sort of painterly edges. I'm going to go a little bit smaller so that I can kinda stay within the actual edges of the motif. And you can see here that I'm getting that dark edge that a watercolor would have not picked up my brush at all. And that's because I'll show you in a second here. But if I pick up my brush, then I'm going to get a dark magic and it's not going to blend in. I use that. You don't have to do something like this where I've got now the bottom part of this leaf a little bit darker. So that's one method to add that really sort of painterly look. So if you take a look at it, you know, you're gonna get those rough edges and that's a really neat effect. Sometimes what I do before doing that as I add additional colors. So I'll do that on one of the other motifs that pronounced and just shut the alpha lock off. And I'm going to go in and add some additional sort of texture and detail to the edges. But one of my favorite ways is to use this liquefy and crystals. You can see it's already set on crystals because this is something I use a lot and I've got the size pretty small. And we'll see if this one works, but it's a little bit hard to see on the camera, I guess, or on screen for you. But as I'm dragging around the edges here, you see how I'm causing it to become really rough. And I think that gives it more of the look of an authentic watercolor as you can see. And I know I've showed you this in a couple of other classes, but I think that every time I do these and show you different techniques, they are a little bit different. I'm going to be showing you some of the other things that I do now that will also help this to be even more authentic. So I'm going to work around fairly quickly and this is fine. It's working just great. I can see you may not be able to see it, but it's working great and you can go over it more than once if you want to add additional texture. If you see that because of the size of the brush, sometimes I have these little nicks and things. And so doing this also helps to make that a lot less noticeable experiment with your sides here now. So you could go a little bit bigger if you want a little bit more texture. And like I said, go back more on some spots if you want to just add a little bit more of that texture. And the other thing I do is I grab an eraser that has a similar texture. Some of these actually worked really good like the stucco brushes and that if you want to go in fairly small, the eraser can give you that sort of authentic dry brush kind of a look. And you can actually choose a watercolor for this. So I could go in and choose one of these with a bit of a textured edge. And, oops, I don't want them to be the research. This one looks pretty texture, so let's try it out. As a researcher. It's going to do a really cool kind of a watercolor as well. And that just really makes it look more hand painted. So don't overthink it. Don't do it too much, but pick some areas that you think that it will help enhance that authentic watercolor look. Okay, I think the next time I make these silhouettes for my leaves, I'm going to have the inside part solid rather than just reversed out like this because I think it would be fun to paint those veins and things on it. So I would go through and do all of these as well. And I'll maybe just wait and do that off camera. But I basically use the same technique for that right now I want to show you the technique that I have for adding an outline to help this type stand out a little bit more against all that sort of busy background stuff that's going on. So to do that, I need to duplicate my layer. So I'm just going to swipe to the left and duplicate. I'm going to go to the bottom layer here, and I'm going to change that. Let's just hide this for now and we'll select all of this and a bit, change it to white. You can change it to a cream color, whatever you think would work. Sometimes it's the opposite where I have the main type, white and then the outline dark. It doesn't really matter too much. So I've turned this other one on because I want you to see what happens here when I do these effects. So there's no simple way of adding that kind of outline. The kind that I want you could do, just outline texts in the text dialogue box, but it is never wide enough. And I don't like it because it kind of makes the lettering thinner rather than really adding emphasis to it. In my opinion, this is a work-around that I learned from another teacher, healer Cunningham. So I don't know if you know her bet he's got some great classes. She has a great YouTube channel that teaches a lot of really simple Procreate techniques case. So I'm going to go into the effects here and I'm going to go to the Gaussian blurred. And the way that works is that as you slide your stylist to the right, you will start to see the image blurring a little bit underneath. So this white kind of a glow that you see around here is the lawyer happening on the lettering. So I've got it. I used to go about five to six depending on the size of the type. So if I turn off the other type here, you would see that that's just a really fuzzy version of the type. And the way we want to create that sort of an outline is to go to the Layers palette here, click on the Type. Hit Select. So everything is selected here in the background you can see, oh, the fuzzy part that you saw, it is not selected. And then we go back here and we fill the layer. And you saw that just kind of get a little bit bigger. And we're gonna do this a bunch of times. So select, Fill, select Fill, and you see how it's getting a little bit wider and it's hardening up a little bit. So I'm going to keep doing that. So select, bill, select, Fill, and do that as many times as you need to get the sort of width that you want on your outline and to make it a little bit more solid so it's not out of focus like that. The next step is to select it again. And like I said, you can do this several times is select infill. And I found that each time I did it, it got more and more solid. So maybe I'll do a couple more times here. So it's getting quite hard, but it's not quite as hard as I would like. So I'm going to at this point go into the Procreate airbrushing brushes here. And I'm going to grab the hard brush. And with that hard brush, make sure that it is selected. Then go in and use that hard brush and go over the lettering. And I'm going to maybe go a little bit bigger here. And I'm going to go over it a few times. And you can see here that it's already starting to harden up if you're a bit. And I think that that's really helping to make it look like a solid outline. And in my opinion, it really makes it stand out from that background. You'll find that especially once you de-select. So let's just do that now that you can see that that really stands out against the background and the background was darker, you would see it even more. So let me just make this one normal and see how well it stands out against that background. It's funny. I kinda, I kind of like that. I want that texture in there and you know, there's something about those vertical lines there that makes me think of tree trunks. I'm going to put it back to my soft light for now. And yeah, like I mean, we're getting really close to being finished here. So I want to do some more work with textures and these borders. So let's do that in the next lessons. I think this lesson has gone on quite long enough. All right, I'll see you there. 8. Finishing Ideas and Mockup: Guys, welcome to lesson 7. This is the fun part where we really get to finish it off. And I want to show you the use of a mock-up to really make your design look great for presentation. Let's get started. So this is where we left the little project. At the end of last lesson, I want to show you a few of the things I've done to further complete my project. So you're going to see a lot of differences here at mainly interests in the coloration. And I accomplished that by going into these layers and making some changes. Mainly what I did was turn it to be a little bit more orange. And I did that, of course, using hue and saturation adjustments there. And I've done a few things for borders. So I'm going to go over that with you. And I have Vensim experimenting with possibly leaving that tree out. So and turned it off. I did try a couple of other blending modes to see if there was anything else that I liked. And I just at this point kind of feel like it's not necessary. So I think I'm just going to leave that one off. Those are the textures that we had originally added there and I think world probably go back and add a couple more. I wanted to show you a few options with these bands. Pattern, I guess you'd say at the top and the bottom. So I've experimented here. This is without anything horse you saw that first one that we did, which was whereas it which I guess I eliminated, can't see it here at all. But I want to show you some of the other ideas that I had. So this one is a pattern that I created or a brush that I created with a pattern. And I quite like look at that, that was just a, basically the darkest brown that I had in my palette here. Probably this one here. And so that one's just quite simple. And I think it really counts it off quite nicely. If you do research slag online to search out garden flags, you'll see a lot of them do have a border at the top of the bottom and it just kinda frames it nicely. The other things I tried, we're adding, let me turn that one off. Adding a band of just kind of a deep red, I guess you'd say color. And that was probably this color here on my palette. And I painted that in, I think just using the Procreate Nikko rule brush. I really like so that would be found in your painting. So this one here, I'm not sure if I'm pronouncing that right, but that's one that I really like and I like it because it does have a nice texture to it. So that's one of the other options for creating a borders as painting in deep colored line. On this one, I added a little bit of a brown border as well in there. And that one I just painted underneath and I made sure that I left it a little bit rough just to really give that hand done kind of a look to it. Those two I could actually at this point pinch them together and that would be a nice border treatment. Then another one that I've seen a lot is the addition of a border. And I thought that was really cute too. So in order to create that checkered border, I created a brush and I'll show you the setup for that. Now that you know how to create brushes, I just did squares, dark, light and white, gray and repeated it so that there's kind of a distinct pattern already here that you see. And then I went back and created a brush with that. So I went into, I think I put it into my textures here. So I created a couple of different ones. This one was just with a black and white checker and I didn't like that quite as much as the one that I ended up using, which also had the gray there. When you create that brush, what you're going to be changing in your brush studio is the grain source. Okay? So you would go into edit mode here, Import and paste your black and white checkers. Now I'm going to do a class on plaid in Procreate. I've done a class just recently on plaid in Photoshop creating simple clades. So if you want to just wait for that class, you could. But really it's simple to create. So you could, if you've been producing a few brushes, you'd probably be able to figure that out fairly easily. So at this point, I also did some adjustments to this motif here. And you can see that I've added some additional color in there. And remember when we were looking at the inspiration at the beginning class, we saw some watercolors that had some of this. So what I did is I developed a texture brush. I think that is in my regular brush set. This brush here called add texture. And I'm going to duplicate that right now so that I can put that into your brush set that you're going to be downloading for Procreate. There you go. Sometimes it's sticky like that. You'd have to make sure that that opens up and then you can drop your brush into it. So you'll have that brush tool and you'll see that what it does is if you pick a color here and go into whatever motif you're trying to effect. You can add the Alpha law. And when you brush that off. See that there, you're just kind of adding a little bit of additional colors. So I remember that I really quite light in that other one that we saw that there were some little hints of kinda teal in there. So that's what I added. So I feel like this is very hand painted looking. And remember to go in on your edges with your, one of your watercolor brushes or use one of the watercolor eraser is actually to give that sort of I, watercolor look. If you take a really close look at watercolors, you'll find that that is something that happens frequently along the edges. And then don't forget to go in and use your Liquify. And I forgot to mention that alpha lock has to be off again before are liquefy will work. Okay. So then go in and add any additional texture that you would like. I didn't do this section here, so I'm going to do that now. If you feel like you're not getting enough as you're going along, just increase the size of it a little bit and you'll definitely see not forming a little bit more quickly. Depends how patient you are. And I'm not super species. Okay, So that is, Let's just say this is my finished flag. I'm sure I could probably go in and make others slight changes here to enhance it further to quickly. I feel like I could enlarge this one a little bit. You can have it overlapping. And I kinda like how it follows the curve a little bit with that background elements. And you know what, If you ever want to alter brush? And I do that quite often because I only have a limited amount of brushes. I want them to look a little bit different. So I'll go VM here with the selection and then change this to work. Make adjustments to create a different look from the same brush. I like that swooping kind of a feeling that we're getting here. And once you click off, you'll see that your motif has reshaped. So that's kinda cool. So I am going to call this done. And the next step I wanted to do is to show you how to put this onto a mock-up. In order to do that, what I wanna do is export. So I'm going to go to share here. I'm doing just exported as a JPEG, which she will work just fine. I am going to put that into the same spot that I have my mockup. So I'm saving it into that. And I'm going to go back to my gallery. And that's really important. You have to be in your gallery to import the mockup. And the mock-up is this one here, flag mock-up. I sell this one on my website. And once that opens up and it's a PSD file, you'll be able to replace this with that other image. So again, we're going to add, and we're going to insert a file. And I put my mock-up here. Where is it that I have to mock ups folder. So maybe I put it in the other one. The other one is here and my procreate. And yes, that's where I'd put it accidentally, which is fine. And at this point you wanted to uniform resizing. And I've got the size worked out so that it will fit perfectly. You can, I think with these you can also put ping on and it will snap to that layer. Yes, it does. So now that's perfectly sized. So this mock-up already has things like the shadow drop shadows and stop built-in. And once you've created this, it's still a PSD file. You would probably need to export it as a JPEG in order to submit this, you an agent. But really it's that simple. Now that PSD file is something that you can also open it in Photoshop. And you'd be able to just double-click on the original flag that was there, how it's separate over here. You would double-click on it in Photoshop to open it and make a change. I also suggest that you can see here, replace the garden in behind with a different garden picture just to make yours unique because there are only so many companies accepting flag ideas. And you don't want to have the exact same mockup of someone else. So I sell this one on Creative Market as well. So I don't even know who's got this mock-up. I personally changed that image in the background every time I submit new mockups. Oh, there's one thing I forgot to mention, and that was in my artwork there. I just remembered this that I also went in on the lettering and added an inline. So this was the original lettering here. And I just added another layer and went in and just three trace that. I think I used my tapered pen pressure brush and just add it back. So that's another thing you could do to add some interest to the lettering. So overall, I'm quite pleased with this design. I'm going to send it off to my agent and see what her comments are if this is painterly enough for her. And yeah, Once I get that information back from her, all probably produce a whole bunch of these. And I mean, sure. You saw here in my gallery that I already had a couple more. I may have showed you this earlier. And they were produced really in exactly the same way. I think this one is my favorite. I'm going to experiment with adding a border on this one. So I'll show her with and without the border. And I may change up this border. Now that I've created a couple of brushes that will work for that. Now one of the things that I did on this one that I even show you before is that particular motif there. Once I have the alpha lock on it, I used a line, no pattern to add a little bit of detail. And this one I haven't made into a real watercolor look. So I'm trying to submit a variety. When you go to my website, if you do, you'll also find that there I'm selling some of those components like the the background. This is another trick that I learned is that if you press on this little square with a checkmark, can both see that that layer comes up and all the rest become hidden. So that's really useful. And the reason that one didn't show up when I first showed you because I had that blending mode on it. So those are the three images that I have going on in the background that add the interest to that layout. And I think, you know, when I'm really in the full production stage of this job here, I will also do some experimenting with adding some photographs in the background with effects added. So I hope that's given you lots of ideas. I of course, love this part of the process, getting to the end. Not because the job is over, but because it's given me a lot of ideas and I've got many seasons to cover here. So I'm going to be industriously working on these in the evenings as I watch TV with my husband. So I guess it kind of wraps it up and I'll meet you in the last little lesson. There are the wrap-up I should say, not really a lesson. And I'm going to take a break and go and have a cup of coffee. So I'll see you there. 9. Outro: Hey guys, here we are at the end again, and we've done a wonderful job, are producing some really lovely artwork. I am sure your work is going to be just fabulous. I can't wait to see some of your examples here, so please post them. If you post them to social media, please tag me. I love seeing that and it gives me a chance to really take a look at your work and your progression. And I find that to be absolutely the most rewarding thing of all. Now if you didn't do so at the beginning of the class, make sure you hit that follow button up there. That way you're going to be informed about all my classes and anything else that I send out. I don't do too many mailings, so I hope that'll be okay. If you have a chance check out my website to you at Dolores art dossier, actually shock dot Dolores Hart dossier and add yourself to my mailing list there. You might want to bookmark those artists resources because I'm actually at the point where I have a bunch of them to add. So besides that mockup that I added for you today, I'm going to have about 10 more in the next couple of weeks. I've actually hired an assistant to help me with that. So I think this time it's going to actually get done. Now, also, don't forget to check out those boards that I showed you on Pinterest. The best one I think for this project would be that leaves and trees illustrated and photographed. But you might want to also check out my surface pattern design. All leaves and flowers category. So by 2 Pinterest sites or Glarus art alerts now screen and teacher Dolores non-square edge. If you want to also check out my stores, I've got one at societies six and have got one at art of where here in Canada. And if you want to check out my cards, I'm on card aisle. That would be a great place for you to upload this artwork because the proportion is almost perfect. It be able to create a card without artwork, I'm sure without very much adjustment. Now I feel like I'm forgetting something but oh, well, I can't remember what it is at this moment, so I will say goodbye and see you next time.