Textured Floral Illustrations in Affinity Designer for iPad | Tracey Capone | Skillshare

Textured Floral Illustrations in Affinity Designer for iPad

Tracey Capone, Illustrator & Photographer

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20 Lessons (2h 40m)
    • 1. Welcome | Class Project

      2:10
    • 2. Downloads & Resources

      3:03
    • 3. Gallery | Creating a New Document

      6:29
    • 4. The Designer Persona

      11:26
    • 5. The Color Studio

      8:16
    • 6. The Pixel Persona

      2:48
    • 7. The Shape Tools

      6:48
    • 8. The Pen & Pencil Tools

      10:48
    • 9. Saving and Exporting Documents

      1:52
    • 10. Preparing Your Canvas

      2:38
    • 11. Creating Leaves with the Shape Tool

      13:16
    • 12. Creating Leaves with Pen and Pencil Tools

      11:11
    • 13. Adding Texture to Single Layers

      8:12
    • 14. Adding Texture to Groups of Layers

      5:29
    • 15. Simple Flowers from Shapes

      12:10
    • 16. Complex Flowers From Shapes

      13:16
    • 17. Flowers with the Pen & Pencil Tools

      10:55
    • 18. Adding Texture to Flowers

      13:41
    • 19. The Assets Studio

      6:11
    • 20. Putting it All Together

      9:38
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About This Class

In this class, you will learn how to use Affinity Designer to create beautiful, textured florals and leaves right on your iPad.  Designer is a vector based program, with raster elements built in to it, making it perfect to create complex flower and leaf shapes and give them a wonderfully organic feel using pixel based texture.

I will provide you with all of the guidance you need to create your very own botanicals that can be used in illustration, surface pattern design, for print on demand sites, client work and much more.

You will also receive, as a free download, a set of assets, and a vector brush pack that I have created specifically for this class. Throughout the class, I will show you how to use them to create your own colorful, textured florals. I have also included, in the Resource Guide, a complete list of all of my favorite Affinity Designer brush makers and texture designers so you can further build your own go to collection of tools for creating your own textured flower illustrations. 

Downloads can be found at this link, and the password will be shared in the Downloads & Resources section of the class.

Please note, while I don't provide texture files for this class, there are a number of resources for either free or paid textures out there. I have put together this blog post covering a few of those sources, which also includes a quick video about how you can use Designer's built in stock studio to pull texture images right from Unsplash, Pixabay and Pexels.  Find the post here on my blog.  The class itself isn't about the specific textures or brushes I use but, rather, the process to add them so feel free to use whatever you have on hand.

In this class, you will learn:

- All about the User Interface in Affinity Designer for iPad, including the vector and pixel personas and how they can work both together and separately all in the same app.

- How to create your own custom color palettes using reference photos or your own illustrations. 

- Use the built in shape tools in Affinity Designer to create the vector base for your leaves and flowers.

- Use the Pen and Pencil tool to create freehand shapes that you can turn in to beautifully textured, colorful flowers.

- The three methods I use to add texture and dimension to my flat illustrations.

- How to create, save your completed objects to the Assets Studio and use assets in the Nature Elements Asset Pack to build your leaves and flowers and use them in future illustrations or seamless patterns. 

- Learn how to save and export your documents from Affinity Designer for iPad using the Documents Menu

Already familiar with the ins and out of Designer for iPad and just want to get started creating? Please feel free to jump ahead as I created this class with all levels in mind so, so you can easily do so.

The methods you learn in this class will give you the building blocks you need to create more complex illustrations in Affinity Designer for iPad. The class will be taught on an iPad Pro, using a second generation Apple Pencil, but you can also use your finger or another brand of stylus.

Do you love textural digital illustrations as much as I do? Join my Textural Illustrations for Digital Artists Facebook Group. In this group, you can share your creations, learn tips and tricks for adding texture in the various digital apps, and ask questions of other artists who love texture as much as you do. Check out there group here.

Please note: Affinity Designer is compatible with specific iPads. Click the link to find out more information on Serif's website.

INTRO SONG CREDIT: "Acoustic Breeze" Bensound http://www.bensound.com

Transcripts

1. Welcome | Class Project: I'm Tracey, component of an illustrator, photographer and designer. And, well, it's my class all about creating beautiful textured florals right on your iPad. Using affinity designer In this class, you learn how to use designer, powerful vector and raster tools to create beautiful texture. Flowers and leaves like these, and what you learn in this class will provide you the building blocks you'll need to go on to create even more complex illustrations. First, I'll take you out. Comprehensive tour through designers User interface show you the difference between each of the workspaces as well as explained the tools and studios within each one. After that, we'll take a look at the built in shapes in the rectangle tool, as well as the pen and pencil tools, and I'll show you how to use all of these to create organic looking flower and leaf shapes . Nest all here. You have to add additional mention to your flat illustrations by using a combination of vector and raster based tools to add beautiful texture to your designs. Will also explore the asset studio, where I'll show you how you could easily save complete objects for using future administrations or surface patterns and I'll show you how you can use the nature elements assets Pack that I'm providing as a free download for this class. Now, if you're already familiar with designers interface, want to jump right into creating fuel free to? I sent the class up for everyone from beginner to intermediate so you could easily skip ahead if you like. The project for this class will be to create two cents of flowers and leaves, using the tools that you'll learn about the class, the shapes in the rectangle tool, as well as the pen and pencil tool. You'll complete these flower shapes by adding texture and whatever form. I would like to add it using texture and child's vector or raster brushes. And finally, you will create a full textural beutel illustration using a combination of all the methods that you've learned in the class. For the class, you're going to need a compatible iPad, an apple pencil or other stylists or, if you prefer, you can even draw with your finger. I can't wait to see what you create using the methods you learn in this class, so let's get started 2. Downloads & Resources: before we get started, I want to show you how to download the resource guide brush and assets back that have included with the class. I want to know you're going to need to access the down the length through the Projects and Resources section on the Skill Show website and not through the APP. You'll find a link at the top of that section. When you click on it, you're going to need a password to access the downloads, and I'll put that up on the screen. Now, once you've entered the password and access the three downloads, you'll find three files. The Resource Guide, the Nature Elements Assets Pack and the texture florals. Brush pack. Go ahead and download these either to your iPad or too inaccessible cloud file. As you'll need toe open these on your iPad to import. Hm. The resource guide includes information about affinity designer as well as links to scarabs website. In case you haven't already downloaded the APP, it also includes a comprehensive breakdown of the difference between factors and raster, so that you have a better understanding of how they work and can best decide what's right for your design. Now while desire comes with a large number of really great vector and raster Russia's which we're going to use in this class. I've also included a list of my go to brush speakers in case you want to further build your collection. Designer does not come with built in textures to use for the texture image files. So I've included this list of my go to texture makers because when it comes to adding elements like these, they can really make or break your design. You need to make sure you're using high quality, high resolution images to include otherwise you could run into quality issues. Included with the download is a set of nature elements assets as well as a brush pack to help you further enhance the middle sections of your flowers. I'm going to be using all of these in the class. But first, let's go ahead and forth. Um, once you download of the two files either onto your iPad or to a cloud file, you're ready to import them in Designer. Let's go ahead and start with the Assets pack. Select your Assets studio, which looks like nine squares in a block. Formacion on my screen set up for a left handed person. See years, maybe on the other side. Select the hamburger menu at the top of the studio and tap on import category. This is going to take you to your files. Locate the file that you saved. Tap on it, and it's going to add it into your assets studio. And finally, let's go ahead and import the brush pack. This time, you're going to want to make sure that you're in the design of Arizona, which is this first icon right here, and you'll select the brush studio with just just under the color dot. Here, it looks like a brush with a little sushi formation under it. Once you're in the studio again, go to the hamburger menu at the top. Select import brushes. Locate the file that you saved and tap, and it will import the brushes into your brush studio. Okay, we're all set to get started. If you have any issues with downloading the files or importing them, please let me know. In the next section. We're going to begin taking a look at designers gallery and user interface, so let's get started 3. Gallery | Creating a New Document: in the section, We're going to take a look at designers gallery screen as well as get started with creating a new document. Now the gallery is the home page. This is where you will create a new document. Access. Help change your preference settings as well as organized existing documents. The very first time you open this, it's going to be relatively empty, with the exception of a link to some video tutorials as well as stample illustrations. But at the top, right, you'll see a plus sign question mark in a call. I'm going to skip the plus sign for right now. That's for you. Access the new document menu. The question mark takes you to the help area. On the left, you'll see written help, which is broken down into section so you can more easily find everything and on the right, you can access a collection of video tutorials as well as the user support forums for on Sarah's website. So there's a number of ways of accessing help directly inside the app. It complex you to system preferences, and it's broken down in true traditional preference categories. At the top, I haven't changed very many of my settings. I'm going to show you the ones that I have changed as well as some additional ones, and you can decide for yourself if there's any additional changes you want to make in the general preferences. I make sure that my hon Julen it is relatively low designer takes a snapshot of every movement you make within a document for undo and redo purposes. The larger this number, the more taxing it is on the application and the slower everything is going to move. I keep mine anywhere between 100 time and 130 haven't found me to change that in the interface preferences. You can change your background very level here with this slider. The further you go to the left, the dark you're screaming the further right, the lighter. Now I am left hand in. So while this is off by default, I have made sure that left handed mode is on. All this does is flipped your screen opposite of one another. The tools are exactly the same. If you prefer to tap a button rather than use to finger three finger cap, you can turn on a show undoing renew buttons here, but by default it is off. I haven't made any changes to my color preferences. If you have particular means, you can take a look at the menu here and see if there's anything that you need to change in the tools preferences. I make sure that allow canvas rotation in all tools as well as touch for gestures on Lee is on canvas. Rotation allows you to use two fingers to rotate your canvas rather than rotating the entire iPad. I keep this on overall for the application, but on a document basis there is a way of locking it, and I'll show you how to do that when we get into the workspace touch for gestures on Lee, because I don't draw with my finger. What I was finding is when I was using my modifier mike finger rather as a modifier, it was accidentally moving objects. So I make sure that this is on, so that doesn't happen again. If you are someone who draws with your finger, you're going to want to make sure that this is on. If you're using an apple pencil in the pencil preferences, you can change your pressure settings, as well as make some basic changes to how the pencil interacts with the application. Your font preferences will show you fonts that you'd imported into the application, and then finally, the shortcut preferences will provide you with a list of keyboard shortcuts. If you use either a Bluetooth or a smart keyboard, let's go ahead and create in your document. Now I'm going to go ahead, hit the plus sign here, and it's going to give me a number of options going to skip the first option here. For one moment, you can create new from a clipboard you can create from a template that you've saved, even also open or import from the cloud, as well as import photos from your iPad. This final option allows you to create what's called a project and Space Italy a folder going to take you back to my gallery screen. Thes top four documents are out on their own, but in the bottom here I have project set up, which again are just folders, and I use those to organize my documents. So, for example, I have one set up for my skill share class documents now within the folder. I can reorder my documents. I can tap on this hamburger menu and get a number of options, such as renaming it, stating at moving out of the project. And then the projects themselves also have a menu. Now there's something inside of it. The only thing that you can do is rename it. If this were empty, it would also give me the option to close it. Let's go ahead back in here and go to new document. Now, this is where you can manually key in the information for your document. I, for the most part, nor the left side. The only time I use this is if I've created presets, and you can do that by tapping on this hamburger menu, and then you'll find the presets under this drop down. But for the most part, you can keep your information in on the right side here. Now, The one thing that you do want to keep in mind when you're creating your document is if you plan to print it because while this is a vector program and has raster elements to it, you need to create your original document in the largest size you plan to print. That's to avoid any picks, elation or money textures. So when you're creating that, just keep in mind what your plans are for what you're creating. So let's say I want to create a 16 by 20 inch document in pixels. I'm going to go ahead and take that in as 4800 by 6000 and then I'm going to choose my DP. I hear there's a list of preset ones as well as a way of keying in your own if you have a particular need, so I'm going to tap 300. Now you can change your orientation, and it will automatically change the numbers at the top here. But let's just stick with a portrait orientation. If you prefer to work with the transparent background, you can remove the background by tapping on this. I personally prefer to work with the background that's really up to you, and then you Finally, if you want to work with art boards, you can create that here. And then there's a way that you can adjust the art board and add additional ones. Want to get into the workspace? I'm not going to use one here, So I'm just going to talk, okay? And it's going to create my new document and take me into the user interface. So in the next few sections, I'm going to take you on a poor designers interface and take you into each of the personas that provided with the tools that you need to create your own illustrations, So I'll see you there. 4. The Designer Persona: in the section. We're going to take a closer look at the tools under the designer persona I mentioned in the last section. The designer persona is the default persona, where you'll find the vector based tools. Now, if you're coming from another vector program, you're likely familiar with the tools in this one. What's probably less familiar is the layout and designer for iPad. There were pools on one side on what are called studios. On the other again, my screen has flipped for a left handed person. The tools allow you to create, move, resize and reshape objects as well as perform edits to those objects. And the studio side gives you advanced functionality to perform additional appearance edits to those objects. The two don't necessarily work in conjunction with one another, with a few notable exceptions. For example, if I select the vector brush tool, I'll go to the Brush studio to select what type of Russia want to use. Similarly, there's a text tool that also has a corresponding text studio, but for the most part they work independently of one another. Let's take a look at the individual tools themselves, starting with the arrow, which is the move tool. The move tool allows you to select move resize as well as rotate. Your objects were going to use the rotate function, especially when it comes to creating flowers in an upcoming section. Turn the labels on here the no toll want transform tool and corner tool, allowing to make edits to the lines, shapes, curves and pass that make help. Your objects and the pencil tool, vector, brush tool and pentacle are used to freeform create those objects, as well as perform additional edits to them. The fill tool and transparency toll are used to add Grady INTs to the objects, whether it's a transparent, radiant color, grading it or you can even add texture to a group of layers, and I'll show you how to do that in an upcoming section, The rectangle to a little tap and top again. We'll provide you with a list of built in shapes, and when we get into creating a leans and flowers, I'm going to show you how to do that two ways, and one of those ways will be using these built in shapes. I mentioned the text tool already were actually not going to use any sort of text in this class, but this is how you would add it to your design. And then finally, there's an eyedropper tool, and this allows you to sample color to use in your existing document or saved for future documents. There's actually two ways to use the eyedropper. The one down here, and the one in the color studio will get you in a little bit. I typically used this one over in the studio rather than this, but it's really up to you. Whatever is more comfortable, let's take a look at the bottom of the screen. This is the contextual menu, and if I tap through the tools, you'll see that menu change. This just provides you with additional options specific to the selected tool and just keep an eye out. Some of them actually appear. It's here where there's additional options that are hidden. This primarily works with the tool side and not as much the studio side. But there are some exceptions that I'll show you when we get there, moving to the studio side, starting with the color studio. I'm not gonna focus a lot of attention on the studio in this class has. I have created a specific class dedicated to the color studio where I'll show you had a sample color as well as create your own palettes. But this is real. Select the color for the Phil and strokes for your objects, and you can do that using the eyedropper tool, a color wheel, sliders as well. A swatches. And again, we'll go into greater detail on that in a bit. The's stroke studio allows you to make changes to the appearance of an existing stroke. So if I add a black stroke to this pink box, I can use the stroke studio to change the width of that stroke. I can change it to dashes and change the pattern of that dash. That can change the handles here, to change the pressure settings on the stroke to give it a bit of a war. And then there's additional settings under this carrot that you could make changes to asses . Well, the brush studio again is where you're going to select the type of brush use with the brush studio. But additionally, you can make changes to the appearance of a selected stroke simply by selecting and tapping on a brush. So I have that same stroke selected here and want to tap this acrylic stroke brush, and you can see that it changed the appearance of that stroke to match that of the brush. The Layers studio is where layers or house and organized so you can group layers and on grouped Um, you can reorder layers by tapping and dragging. You can also click clip players rather, and we'll be using that a lot when we had texture to our objects. You can delete layers, add blank layer or mask, and you can also go into the layer options of a selected layer simply by tapping these three dots. And here you can make a change, the name of a lawyer, you opacity as well as the blend mode. The appearance studio provides you with detailed information about the stroke and fill that make up a selected object. So in this case, I have his orange box selected, and it's telling me there's no stroke and an orange Phil. If I tap the pink box, it's telling me I have a 30 point black stroke and a pink Phil. We're not going to use this studio at all in this class. But there's some really interesting design elements that you can add using the higher functionality of the studio. So I recommend checking out Sarah, this Web site for additional information. The assets studio is by far my favorite thing about designer. This allows you to save objects. Whether they're single layer objects or multiple layer objects that you can use in your existing document as well as future ones, uses a lot for surface pattern design as well as when I'm creating an illustration that I just need a little bit of Phil for, and I don't want to have to start from scratch. All you do is tap an insert, and it will insert your object exactly as you saved it. So in this case, since I say this is a group, I can go into these individual elements and make changes to them if I want. Now, I mentioned in the resource section that I provided you with a link to a set of nature element assets, and this is where you'll find them in an upcoming section. I'm going to show you not only how to use them to add color and picture and create your own designs, but also show you how to save your own assets as well as organized. Um, these stocks studio allows you to directly access on splash pics, obey and other sites to find reference photos. Now you are used to having to leave an app to go to Pinterest or a Web browser. You no longer have to do that. All you have to do is type in a search, gonna go ahead and do car again here, and it'll pull up the stocks, the stock images for that particular search. So if I select this VW bug here and cap and then release, it pulls it in as a separate layer in my document, I can resize this and have it off the side. I can sample colors from it. I can use it as a reference image. You can also add it to an art board if you're using art boards instead of a single canvas now, because this is a separate layer. When I'm done with it, I can either turn it off or delete it completely. We're not going to use the symbols studio in this class. I use this a lot for surface pattern design. What this allows you to do is add an element known as a symbol and duplicated across your design. And when you make changes to one of those symbols, it will make the exact same change to the rest of the symbols that you've placed. So again, this is really handy for something like surface pan. Resign where you're adding a duplicate of the same thing and don't want to have to go into each one to make a particular edit. The Layer effects studio allows you to add nondestructive layer effects to your objects. So, for example, if I select the orange box, I'm not going to go through all of these global Sell a Gaussian blur. I can drag across the canvas and at a blur and change the level of Blur. I can also do that down here at the contextual menu. If you remember, I mentioned earlier that this menu typically works mainly with the tools. This is one of those exceptions and these air nondestructive layer elements, which means I can go into them at any time. I can turn it off. I can change these the amount I could even add additional layer of faxes I want. Similarly, the adjustment studio, as non destructive adjustment layers to your design is primarily works with the raster elements. Under the pixel persona, where you can add like a black and white layer, you can add a curves layer to make changes. In contrast, there's a whole list here of things that you can do to make appearance changes two in existing design, and again, they are nondestructive so they could be changed or removed at any time. Again. The tax studio works in conjunction with the text tool. This allows you to make additional edits to any text that you put in your canvas and then the transform studio. We're going to be using a great deal in this class. This allows you to reorder your layers instead of going to the layer panel. You can slip and rotate. Using any of these buttons you can change. The dimensions often object either by scrubbing or tapping on the number and keying in a specific number. You can change the position by doing the same thing, either scrubbing or tapping and kicking in a number. You can also change the rotation of an object and simply either scrum or tap and change the number back to zero to get it back to right. You can also a line objects. If you have two or more in your campus, you want a line horizontally or vertically. You can do that here. The Navigator studio allows you to zoom in and out on your canvas. You can also lock your canvas here if you remember when we discussed the settings, I talked about keeping the campus rotation for all documents on so that you can go ahead and rotate your canvas rather than having to rotate the entire iPad. There are times where I find that inconvenient, and I need to turn it off so you would block it here and now. I can still zoom in and out, but I can no longer rotate it Now. If you do have this unlocked and you rotate your canvas and you want to get it back to zero , just tap on this number. Type in zero and it's going to write your canvas. And then finally, there's the history studio. There's a number of ways that you can access the snapshots in the history you can either scrub up and down using the slider you can tap and hold on the clock and again scrub up and down with your pencil, or you can tap into a particular snapshot. This is driven by the number that you selected in settings, which, if you recall, he mentioned keeping that number rather low will help your application run much more smoothly. So this is the designer persona. In the next section, I'm going to take you into the color studio where again I'll show you how to sample colors from reference images, as well as create your own color palettes to use in your documents, so I'll see you there. 5. The Color Studio: in the section, We're going to take a closer look at the color studio and designer. I mentioned in the last section that you can use the color studio to sample colors from my friends images, as well as creating savior on swatch palates for use in the existing document or safer future documents. Before we get into that, though, let's take a closer look at the studio itself. So every vector object that you create consists of a stroke and a fill, whether they're visible or not. So, for example, this rectangle currently has an orange fell on a white stroke, the stroke of the filler represented by the two icons at the top left of the color studio. The Phil is on the left and the stroke is on the right, and you can select between the two simply by tapping. Which everyone is on top is the one that you're going to change now. There are a number of ways that you can select collars for your stroke in this, so But before we get to that, let's take a look at what you can do with the icons themselves. If I were to select this blue circle and wanted to swap colors between the stroke. In the Phil, I would simply swipe across the two icons, and I can swap the colors back and forth. Let's say I wanted to remove the blue, fell completely so that I'm left just with the white stroke. I would select my Blue Phil, because again, whichever ones on top is the one that you're going to change and I'll just swipe up. I could do the same thing with the stroke by selecting the stroke and swiping up and that same change community tomato, either Simply by using this quick swatch of the bottom as far a selecting color for your stroke in the fill their number ways that you could do that, starting with the color wheel. If I wanted this blue Phil to be purple, I would select my fill, and I would tap into the purple area of the color wheel and just start dragging my sliders around until I find the color that I want. Now, if you have exact values you want to can, you can also use the sliders, which can be accessed by using these arrows or by tapping in the middle until you have the full list. Additionally, you can use watches now on this main screen. You're going to see a set of quick colors, including the null that applies to every single document across the application. Below that, you'll see a list of recent colors. Watches for the document there currently end. There's also a list of preset pallets that are already in designer, which you can access by tapping on swatches. And again, you can use the arrows to go back and forth. You can change it to the exact values rather than just the dots, or you can tap in the middle and it will give you the full list. Now, in addition to the built in palates, you can create and use your own palettes. And there are two ways to do that. If you tap at the hamburger menu at the top, it's going to give you two auctions. One is to add an application palette. The other is to add a document pellet. If you add an application palate, you can use that color palette no matter what Balcombe in your end. So, for example, I have a list of go to colors so every time I create a color that I find myself using a lot and I I want to say that I will save it to this go to colors palette, which is set as an application power, which means I can use it in any document. Let's go ahead and create a document palate just for this one, though. I'm gonna go to my hamburger menu, and it's going to ask me whether I want an application palette or a document palette. Go ahead and tap document palette, and it'll set up an unnamed palette that changed the name. I'm going to go to the hamburger menu again. Papery name and let's call this color studio, and now I can begin adding my colors. So I'm going to use my eyedropper tool to do that, and I'll sample the colors throughout this document and we'll start getting added here. So let's use the eyedropper and drag one. Simple. There's gray first when I released my pencil, the icon next to the eyedropper is going to change the Colorado's sampled. To add a color to your palate, you need to change the Phil to whatever color is here. So to do that you simply tap and it will change the fill to that color. So now I'm gonna my hamburger menu again and select. Add current filter palette and I will show up there again. Let's go ahead and drag down until I select this orange. It's going to change the orange to that selection. I'll tap until my fill is orange. Go to my hamburger menu and hit. Add current Phil to palette, and you could keep doing this for all of the colors in your document. And finally, let's take a look at how you can sample colors from a reference image. Either for use in your existing document or to save is a swatch palette for future documents. The first thing I want to do is find a stock photograph to use for the reference photo. So I'm going to go to my stock studio and let's say I'm going to create an illustration of a watermelon and going to type in watermelon and then select my photograph. I like this particular one because of the variety of color, some when a tap and hold and release, and it's going to add it to my document as a separate layer. I'm not worried about the exact size of this. I just want it large enough that I can get a wide variety of color from it. So I'm going to drag out and then be select. I also want to make sure you lock that we're here so I don't accidentally move it around. Time was going to go into the layer studio and tap on the lock next to the watermelon image , and now we're ready to share a sampling, So we'll go to our color studio and swatches. And now we need to determine. Do you want to use this just for this document? Or do you want to be get available for future documents as well? In this particular case, let's just select a document specific palette, So we'll go to the hamburger menu have on add document palette. And now I could go ahead and rename it if I like by tapping on the hamburger menu again, selecting rename palette and we'll type in watermelon. Now, when you're selecting colors from a raster image, you're going to see a lot of variation in the various pixels. What will typically try and do a select from highlights, mid tones and darks, and I'll try to select two from each one if it's available. So let's start the darks. I'm going to go ahead and dragged over here to this really dark red I'm gonna release, and it's going to change that. Got to that color, then remember the swatches in the palace or based on the fill. So I need to make sure the Phyllis selected. I'm gonna top the dot, and it will change the fill to that color. Now I could go back to the hamburger menu, select add current filter palette, announce in my palette. So let's go ahead and find another dark that's just slightly lighter and waited. Tap. Go to my hamburger menu and select Add current filled the palate and I'll just keep doing this until I feel like I have enough a variety of colors that I can work with again. I typically select from the darks mid tones and highlights, and in this case I'm going to make sure I'm selecting from the rind as well. Flushes keep on selecting here. Well, sometimes you may need to zoom in just in this case, the rhymes so thin that to get the greens, I just need to zoom in so you can always do that. If it's hopeful. So it's going to go ahead and get this final lighter green here. So I think that gives me enough to work with to create my watermelon illustration. So that's how you sample colors from a reference image to create swatch pallets in the next section. I'm going to take you through the pixel persona and show you the tools that you can use to add some really interesting texture to your designs, so I'll see you there. 6. The Pixel Persona: in this section, we're going to take a closer look at the pixel persona. No, I'm not going to focus any attention on these studios, because while there are some studios in the designer persona that aren't found on the pixel side, those that do remain are exactly the same. So we're just going to focus on the tools themselves. I mentioned previously that the pixel personas were the raster based tools or house, and you'll use those tools to add raster texture to your vector objects. And you can also access the number of selection pools that Elias Lex specific sections of your designs for edits. Now something I haven't previously mentioned is that the 2% is work independently of one another. Well, you can go into your designer persona and create flat vector art and not use the pixel persona to add any restaurant texture. Conversely, even used the pixel persona exclusively to create raster based paintings from scratch. It's totally up to you, and if you're coming from a Raster based illustration program, you're likely very familiar with the tolls in this one. So let's go ahead and take a look at those tools. The arrow is the move told, just like in the designer persona, and it works exactly the same. You can select, move, resize and rotate or objects. You're going to use the paintbrush faithful to apply the raster texture to your objects and select the type of brush that you want to use in the brush studio. Now, just like on the designer side, there are a number of baked in brushes that come with the application. I've also included a list of my go to brush designers in the resource is guide, and I'm using number these brushes throughout the class so you can see how they work. There's also an erase fresh tool that allows you to erase away portions of an object, Ah, pixel told. That allows you to create those fun. 19 eighties type illustrations were not going to use that in this class, but it's actually kind of fun to use. There's a smudge brush tool, a flood fill tool that allows you to flood a selection with color with a tap. And then finally, there's a number of selection tools, as well as a refined selection pool that allows you to modify your selections and just like in the designer persona. There's also an eyedropper tool that allows you to sample color so that you can add it to a swatch or use it in your design. Now, one thing that the pixel persona does have that the designer doesn't is that when you go to your paint breast hole, if you tap to the right here, you're going to see that there's a symmetry and mirror tool so you can use that to create radio or mandala type designs. So that's the pixel persona. In the next section. We're going to start creating some designs, and I'm going to show you how to create leads using the built in shape pool, so I'll see you there. 7. The Shape Tools: in this class and going to show you how to create leaves and flowers two ways. One will be using the built in shapes in the rectangle toll. The other will be using the freeform pen and pencil tal, all of which can be found in the designer persona. In the section, we're going to focus our attention on the rectangle tool, so I'm going to tap this. Select it and Tepe second time to pull up the list of shades. I'm not going to run line by line through the shapes I'm going to focus on. A few of the shapes were going to use in this class, but what I'm showing you in this section applies to all of the shapes. Go ahead and drag out a rectangle and a crescent. Both of these were going to end up using a stems. And then finally, I'm going to go ahead and drag out in the lips, and when you use the rectangle told to create a shape, that's exactly what you're getting. It's a shape, not a curb. What that means is that I can't use my no pools to make any further edits to these shapes in fact, if I select my notable on tap on the lives, there are no notes because they don't exist. It's actually giving me the bounding box for the move tool so I could make it bigger and smaller, whiter and more narrow and in depending on the shape that I slept. They may also get these red dots that I can use to make some minor at its But for the most part and limited as to what I can dio, we're not looking for realism with these illustrations, but we do want that organic quality that you see in nature. So I need to be able to add some texture and dimension and a little bit of work to these shapes, because right now as they are, they're not really cutting it. To be able to use my known polls, I need to convert these shapes to curbs. Let's go ahead and select this crescent one. Start with that one. There's two ways that you convert this to a curve with its selected in the comm pectoral menu, I can tap to curves. If you don't see it there, you can also go to your head and then you and tap convert to curves. Now it will take me to my no troll and give me four nodes to work with. That means I can drag these out. I can move thes. I can use these handles to make further changes. I can also drag on the paths themselves between the two nodes to make additional changes so I can do all sorts of edits to that original crescent shape to get it to where we want. Let's take a look at the individual in of themselves, so the top of the bottom of this pointed crescent are made up of sharp notes, and you can tell they're sharp because they're square the middle because there's a slight bend for this. Crescent has to smooth notes on them, and you can tell they're smooth because they're circles Now. If I wanted to use those two nodes to pull a little bit more of a bend, the way you would see in some stems, I could do that by selecting my node poll and dragging across the to middle nodes until they're both selected. And I know they're selected because they're blue now because these are already smooth nodes . When I start to drag. I already get that nice bend and I could move it up and down. I can go back and forth to place it where I want to put it about their now, as is. This kind of looks a little bit like a pink green being instead of a stem. But that's OK because we can make additional changes. If I were to go up to this note at the top, I could drag in to make it a little bit more narrow. And I like the bottom, the wit that it's out. But I'm going to tap on this right known and just drag in and down a little bit just to make the middle little bit more narrow. So now I've gone from a basic crescent shape to a shape that I could see using as a stem. Let's go ahead and get rid of this and take a look at the rectangle tool again. This is a shape. It's not a curve, so the first thing I need to do is convert it. I'm going to go ahead and with its selected tack to curves, and now it takes me into my no tool and gives me four sharp notes to work with. But because there's no bend in this the way there was with the crescent. I don't have any nodes in the middle, but I can add them. I'm going to go ahead with my no tool selected tap on one side and tap on the path on the other. They don't have to be exactly lined up. They should be in proximity to one another. Now I can go ahead and so left these two nodes but before end them because if I were to bend them right now because they're sharp, Nunes it would be very angular. And I want that nice curve the way we had with the crescent. First, I need to convert these from sharp nudes to smooth, so there's still selected. I'm going to go to head to my contextual menu at the bottom and tap smooth, and now these converted from square sharp nose to round smooth notes, which means when I start to bend, it's a nice curve going to go right about there. Now. If I wanted to have perhaps bevel the bottom, I could select one of the nodes and just drag out down and let's see at the top I wanted it to be more pointed. I could either take this note and drag it over, or I could select that node, go to my contextual menu at the bottom and tap delete, and it makes it a really sharp point. So then we've taken that from a basic rectangle to another shape that we could use a stem. Finally, let's take a look at the Ellipse. I'm going to convert it to curves. It gives me four smooth notes because this is a perfectly rounded object. And let's say I wanted this to be a pointed pedal. I wanted it pointed the pop in the bottom. With my node pool selected, I could drag across the two nodes until they're both selected and go to my contextual menu at the bottom and tap shirt. Now I have a nice point at the top of the bottom, but it's still kind of a basic shape and doesn't look so much like a pedal. But I can use Thies to smooth knows on the side to make some further changes. If I tap on this one and start dragging up and out with that handle and then select this one and perhaps drug in and down. Or move this in a little bit. I could go ahead and make that nice panel shape that now, if I were to rotate this around, a circle would make a really nice flower. So that's the basics of the rectangle toll that will be using one. We're creating our leaves and flowers. Later in the next section, I'm going to show you how to use the pen and pencil tool to free form, create objects similar to the so I'll see you there. 8. The Pen & Pencil Tools: in the section. We're going to take a closer look at the pencil and pen tools in the designer persona. Now these two tools will allow you to create shaves that having organic feel than the built in shapes coming out of the rectangle tool. Let's start with the pen tool. And whenever I hadn't select a stroke, I'm going to leave my fill empty for right now, and I'll go ahead to the textual menu at the bottom here and new Key and 15 points for my witch to get myself a nice, thick line to work with. Now, when I start tapping around on the stream, it begins to lay down a number of nodes and pass. Wherever I tax, you begin forming a shape if I tap the original note that I created that closes my shape out. Now, if I wanted to make further edits to this, the benefit of working with vectors is that I can use may no tools to further manipulate the nodes in the past that I've already laid down to do that. So what happens? Like my note pool and I'm going user dragging these around where I want TEM I can also delete nodes that I don't need, and I could get a different shape than I started with now. Additionally, if I wanted to you, I could creep Benz in these past, either by dragging the line itself or by dragging the Hamels that create, um, I could also change the type of no that's in place. So right now, the selected node is a sharp notify, tap, smooth and a contextual menu. I get a completely different feel. I could add a Phyllis. I wanted to. I could use thes stroke studio to change the width and the pressure settings. I could also use my curve tool. I'm sorry, my corner tool to select the corner and a corner type at the bottom. And when I dragged down, it helps me create another shape. So that's a few things that you could do straight out of the box with the pen tool. Let's take a look at a couple of others. I'm going to delete this shape and again we're going to start with a stroke. I'm gonna leave my fill empty, so let me come full and I'll tap and tap again. No, Before I release, I'm going to drag down, and it's going to create a nice curves. It also gives me these two handles that help direct the curve. Now, if I wanted to close this shape out with a straight line, I could do that. But in order to do that, I need to let my handle that's currently under my pencil know which direction A lot to go. If I were to simply release and tap, it's going to close that shape out with a curve wrapped administrate line. So it started again when a tap path I'm gonna drag now I'm going to use my finger is a modifier can hold it down. I'm gonna drive my handle up and release so that they handle was facing the direction I want to go, and when I tap, it completes the shape with a nice straight mind. Now it's actually not perfectly straight. If I zoom in here until I've been no tool, you can see that the handle is slightly up from the main line. That's not a problem with my snapping on. I can simply drag the handle down and it will snap into place and former perfectly straight line. Additionally, with individual select that could use this handle the top here to change the position or the depth of the original curve. I could also drag down with my path or with these handles to create a curve in the bottom. This I wanted to I get out of film just like I did previously. I could also change the width and the pressure settings. So there's a number of ways that you can use the pen pool to create an ad. It shapes that give you a little bit of an advantage, in my opinion, over using a raster where you're kind of reliant on shaped holes, erasers undo and redo. So what if I had to leave this and show you one more thing before we get into the pencil tool again? I have a stroke selected, will select my pen tool, and I'm going to change my mode smart mode if you're coming from an illustration program that has a separate curvature pen. This program does not have that, but this smart mode in the pen tool works very similarly so I want to make sure that my pressure settings look OK here so you could easily see this and I start tapping around on the screen. It's going to pay attention to where in place my notes and give me the best curve for that placement. So if I were to go ahead and tap and finish this, the program is determining that this is the best type off Kerr for where I placed my notes , and that's fine. I could still go into my note pool and I could move things around. I could use the handles to drag up or in. I could also change the type of no. So this one is currently a smart node. I can change its sharp, and you can start seeing that we conform something like a paddle. So we're going to end up using this later when we start creating some of our freeform flowers, will use thes smart mode in the pen pool to do that. So I want to delete that and show you one more thing before we move on to the pencil tool once again in the pencil. If you slept the line and you start tapping around, you just think sure, I have a stroke selected here. There we go. You can create lines on your canvas that are perfectly straight, but they're not continuous. So if you have a need for a perfectly straight line, you could easily form those. You can also use your no toll to then join nodes by dragging up topping join. And now I have two lines of the Form one. So that's your pen tal and the basics on how to use it. Let's move on to the Pantsil tool, and I'll show you how to use that to create some really great freeform. These shapes the pencil tools, one of my go to tools for free form creating leaves and flowers and will use it a great deal in the upcoming sections. But for now, it's Do you look at the basics of a tool? So I'm going to select my pencil toll and we can use either Justice stroke or a Phil only or both, and wouldn't show you both ways. Let's start with a stroke. So I selected that, and I have selected a 15 point with here, and if you do the other here in the stroke studio or down in the contextual menu, and now I'm gonna start drawing you can see it works just like a pencil. Now this is a factor, so it's made up of notes and pass, which means I can go into my no toll and I can start moving these around us I want I can use my handles to further drag things. I can delete notes that I no longer need. I can also convert my nodes from sharp from smooth, just sharp rather and just like with the pencil, like it out of Phil to this, or change the pressure or wit settings in the stroke studio. Go ahead and get rid of that. You know, if you're like me and you have a difficult time drawing in a smooth line. One of the benefits of using the pencil tools there are built in stabilizers, which you can access in the contextual menu by tapping on that carrot. There's three options. No stable ends, your rope stabilizer and window stabilizer, the rope stabilizer and when you stabilize, your were pretty much the same. The differences just be cool itself. Let me. But I didn't start with noticed delights. Or first, if I turn that off and I just start drawing, you can see that I have a rather in perfect curve here, and it it keeps it in my room with my pencil. So there's little imperfections throughout. Now it's gonna get rid of that and go back in, and I'm going to turn on ropes stabilizer. We'll zoom in here so you can see how this works is I'm dragging across. You know how to make this a little bit bigger. Siegen See it? There's a rope pulling my stroke, which is helping to stabilize that stroke. As I move along, I was doomed back out to now. If I do this and I create that same blue, I get a much smoother line and curve here again. The Windows stabilizer works very much the same. The only difference is how that rope that I showed you actually works. I definitely recommend just playing around with the settings on this, whether it's the length of the rope or the type of stabilizer you use, because they do work slightly differently, depending on the size of the rope that you use. So let's go ahead and take a look at the fill option. I'm gonna swap that just by swiping across. I'm going to tap on use, Phil. And now when I start drawing out, you can see it and create this leaf. Now it looks like it's completed. If you just look at the shape, it looks like it's a full shape. But if I zoom in, you can see that the initial node and the final no don't have a connection. There's no blue lion connecting them. There's two ways that I can correct this. I can select me no pool, and I can drag one note to the other, but that also adjust my shape. If you want your shape dreaming as is you could also with no drool. Selectors silly tap close and will automatically Bridget with whatever lying works best. And now my shape is remain exactly as they drew it. But I have a complete shape toe work with no one final thing I want to show you with. This is the sculptor. I'm gonna turn that on if you want to either cut away or add to this shape. And I'm not talking about adding another object on top and then combining this year I can actually add to this shape mystery to take away first, Let's see, I'm creating amongst a relief and I want those little cutouts I could just simply start with the blue line, draw down and then drama, cancel up and you could make these little cutouts. Now, this could be an extremely frustrating total. A definitely recommend practicing with us. And the more you practice, the easier it gets. But I can guarantee you that I used the undoing redo. But a lot with this month, you can also add trying to draw out. And it broke the line between these two nodes and bumped everything out. And then just keep going with that. Just keep adding to the initial shape. So that is the pencil tool and a nut show. And then that section we're going to start creating our leaf shapes and going to show you how to do that, using the built in shape to Walsall. See you there 9. Saving and Exporting Documents: well, we haven't touched on the export persona in this class. I do want to show you how you can easily save and export your documents using a documents menu. There's two options in here. State a copy and export. See, the copy is going to allow you to save a designer formatted copy of your original illustration to whatever file holder you select. It's important that you topple on save history to make sure that you save all of the layers and history of your document. Otherwise, at the flat file, you also want to make sure that you do this before you fully close out your document in the gallery. Otherwise, you're going to lose it completely. So go ahead and I'm going to change the name and it will just have save. And it's going to take me to my folders so that I can slept where I want to save, too. The next option is using the export. This is going to allow me to export a file in any of these formats to a folder, or if I want, I can also use the share button down here to save it to my camera roll shared to Instagram . Text it to somebody or email it. Whatever I want to dio, I'm not going to focus any attention on this. Let's just go ahead and focus on how you can say that as a file. I don't change anything here on the quality to 100% and this is going to be set up the original size that I set the document up Now. Typically, I'll see was a tiff file. In this case, I'm going to keep it as a J peg. I'll just go ahead and change the name and I'll go ahead and hit OK, once it gives me this size here and again, it's going to take me to my folders. I'll hit Save! And now I have a G paying, formatted file saved to my folders. 10. Preparing Your Canvas: okay. It's the moment of truth Over the next. Few sections were going to be creating leaves and flowers with beautiful organic textures, and I'm going to show you how to do that, too. Waits. The first will be using the building shapes in this shaped hole, and the other will be using the freeform pen and pencil tolls, all of which could be found in the designer persona. Now. First things first, Let's go ahead and set up a campus. I'm going to tap on the plus sign and then select new document. Now remember, whenever you're introducing raster elements, you need the size accordingly. And in this case, because we're adding texture, we are going to be using raster elements. So think ahead to your final output and create your original document at the largest size that you plan to print. Otherwise, you're potentially going to run into money, textures and picks elation. I'm going to go ahead with an 11 by 14 canvas a 300 d. P. I, and that should suit my needs perfectly. So I'm going to go ahead in key and 3300 pixels by 4200 pixels at 300 d P I. I'm going to keep my orientation portrait orientation. I don't need a transparent background and I don't need art boarded, so I'm going to click OK, and it's going to create my new document now before I move forward. They always had a background layer, and I do this for two reasons. One, the white gets a little taxing on the eyes, but the bigger reason is that I always use my background as part of my overall design. In fact, a lot of the times actually add texture to it. Now, sometimes we'll go dark, and sometimes I go light. I definitely recommend playing around with it because you start having textures and changing the colors of your leaves and flowers, as well as the blend modes that you're using. You're going to see a wide variety of end results, so play around with it until you find something you really like. In this case, I'm just going to go ahead and shoes and off white color. So I have changed my fill to an off white color. I don't need a stroke, so I'm going to select that and turn it off. I'm going to make sure that my snapping is on at the bottom so you can see the blue circle around the magnet, and I'm going to select. My rectangle tool may drag up from the bottom corner to the opposite top corner, and because my snapping is on, it's going to snap that rectangle into all four corners. So now I have a background layer that before I move forward, I want to make sure this is locked so that as they start adding elements, I don't accidentally move it around. So I'm going to my layer studio and on that layer, just tap the lock and now it's in place. In the next section, I'm going to show you how to create leaves using the shape tools, so I will see you there. 11. Creating Leaves with the Shape Tool: Now that I have my canvas in place, it's time to start creating some leaves. Using the built in shapes and the rectangle tool. I'm going to start with my stem. But before I do that, I want to select a color. So go to my color studio and I have some greens down here that I typically used for my leaves. In my recent color squashes, you can select your color, however you like using the eyedropper tool, the color wheel or sliders. Or if you have a swatch palate, you can set that up as well. So I'm going to go ahead. It's like this green color here and typically only use a Phil and not both a feel on a stroke. There are some exceptions to that, and I will point us exceptions out throughout the rest of the class. I like the green color itself, but I find it a little too light, so I could go back in to my color studio and used the sliders to change that. Or I can still be top and hold on the icon for the color shoot you under strict out. So that's another way that you can easily change the light and dark value of the color that you selected simply using your pencil or Silas. So now that I have my Congress allowed it, and when you go ahead and create the stem, let's take a look at the shapes available so we'll select the rectangle told him, and tap again to pull up the full list. Now in the section about the rectangle toll, I used a crescent and erecting like this time I'm going to use a trap is oId, which was drag out. A trap is oId now, as is again, this is a pretty plain shape. It could be used as a stand, depending on the aesthetic. You're going affordable. We're looking to do is pulling more of that organic shape that you see in nature and this just wouldn't work for us. So we need curves to work with another word. We need nodes and paths to manipulate, but we can't do that right now because this isn't a curve. It's a shape. So remember, the first thing you want to do is converted to a curve, either tapping two curves down here at the bottom or selecting it in the edit menu. Now when we go to the no tool we have know that we can work with and I could drag these path out to create the bend that I want for the stand. But I wanted to be more uniform than that. So what I'm going to do is with my note tools left and I'm going to tap and add notes on either side of my shape here. Then I'm going to drag across and select both of them. And remember, if you start out, dragging too sharp knows you're going to get an angular bend. What I want is that smooth curve. So I'm going to tap smooth at the bottom here to convert those notes. And now when I bend, it gives me that nice, smooth curve. I'm gonna leave it about their I also want to go ahead and make my top a little more narrow . So just drag this over and I'm going to battle my bottom by selecting this this left note and just dragging down. So now what started out as a basic trap is oId has a much more organic feel that could work very well for our stem. But Now we need the leaves. So let's go ahead and take a look at a few of the shapes that we can use in the rectangle told to create our leaves. There are a couple options here and they're Kangol toll. The most obvious would be the tear and I dragged that out. It could be a leaf, but to me that's pretty boring and kind of too on the nose. It looks just like I went in and drive the shape out and I could manipulate it with my node pool. But I think it would take a little bit too much time to get it exactly where I want this particular shape. So I'm going to delete that my go to actually tends to be the Ellipse, which looking at it yes, is a very boring shape. But again, I think I hadn't used my node pools to make changes to those to make it much more like a leaf. So the first thing I want to do is tap to curbs, and now when I select my note pool, I get these four rounded, smooth knows toe work with. I want my A top and bottom to be pointed and you can do whatever you would like with your leave. I'm going to make the top and bottom the mind client. So I'm going to drag across with my no tool selected to select these two notes. And you know, they're selected because they're blue and I'm going to go to the bottom here and I'm going to tack sharp. So now I have a sharp top and a sharp bottom. But again, it's still little to on point until a little too obvious for a leave shape. I want to work this a little bit more, so I'm going to use these to smooth knows on side to make further changes. When you go hand him, Would you drag this handle up? We're gonna drag this note in a little bit and then the handle out some, and now I have a nice, wavy shape that gives a little bit more of a leaf feel. But don't get too hung up on the exact shape because this is a curve, which means I can always go back in and make a change to it, using my no tool once I have it in place. If I see it's not working just so I can go ahead and added it easily. But I'm going to work with this right now, so I'm going to go ahead, use my move tool and select it and with about center on and actually would make this a little bit smaller, I would have rotated a little bit and I'm going to add it to my stem here. So now we have the beginning off our leave shape. But we need to add leaves all the way around and there are a couple of ways that we can do that. Let's take a look at those. Now that we have our first leave in our stem in place, there are a couple of ways that we can add additional leaves all the way around the stem. The first is that when you go into the rectangle tool and continue to drag out shapes such as the lips or others, and use a remove and no pools to then make individual change to those leaves and place them where we want. The other option is to duplicate the original leaf all the way around, and when we're done, go back in and again using the move and no tools make individual addicts to each of the leaves. Time wise, both are the same. I'm going to show you the second option, though, so that I can show you easy ways of duplicating an object. So the first thing we want to do is with removed told select that initial leaf. The easiest way to duplicate this is to go to the edit menu and top duplicate. And now, in our layers, TOC have two of the same exact curb one of sitting on top of the other. So I could just drag this down. I can rotate it and tuck it against the stem here. I'm not going to focus any attention on the size or shape. At this point, my focus is first going to be getting the leaves around the entire stem. So the other way that you've been duplicated use your two fingers is a modifier and your pencil with the object selected tap and drag at the same time. So again, tap and drag at the same time. Now, with this last duplicate still selected, don't he selected the third option is like you go into my head and then you and I could tap duplicate. And not only does it duplicate it, but it moves at the exact distance that I moved the other one So I can continue that all the way down until I have the amount of leaves in place that I want. So the easiest way to get these six leaves now to the other side is to go ahead and drag and select. Um, and as long as I have all of the leaves in this blue bounding box, it's going to slept them. But because part of this leaf and part of the stammer outside of it, when I release they don't get selected and that's fine, we don't want them selected. So I'm going to go ahead into my Adam and you in a moment. Attack duplicate. Now I have the same six leaves duplicated and sitting on top of the original, so I'll go to my transform than you and I want to mirror them. So flip through a horizontal flip and then, sweetie, drag those duplicates over. Now, this is a jumbled mass, but that's okay. We're going to use our move tool now to move the leaves roughly in the place that we can start making individual edits before I begin making any addicts to my leaves. I like to just get an idea of the amount of space that I'm working with on a stem, and I roughly place my leave shapes using my move tool. I don't aim for perfection for two reasons. Nature's not perfect. She's perfectly in perfect. So I'm not looking to have leaves lined up with one another, actually try and stagger them. But the other reason that I don't aim for perfection is because, inevitably, I'm going to end up moving them a little bit more as I'm changing the shape of them again. I'm just trying to get an idea of how much room I'm working with here, and it just makes it easier when I start making those changes. The shapes toe have them kind of organized better. Let's go ahead and keep dragging these out now that those air in place, I'm going to use a combination of my move and no tools to make changes to make individual leaves so that they look unique from one another. It typically start at the top with this and I actually like how these true leaves air playing off of one another, but I want this one to be a little bit bigger. So I have my move tool selected and about center Select that this just makes it so that everything's evenly distributed. When I drag, I'm just going to make it longer and maybe a little bit whiter. I'm just going to start following this down. I could go ahead and flip shapes so that the wave pattern is a little bit different. Make this little white or maybe a little longer. I could also use my no tool to drive the handles to get a different shape. There's follow this process all the way around until I am happy with where things air placed, and then I'll take a look at it overall. So let me just go ahead and work my way around this and finish this up. I want some Donald's, too, but we take a step back and take a look at my overall shape and see if there's any individual ones that I want to change. For example, this one here was actually about a little bit too close to the stamps so I'm just going to rotate it a little bit, so it's not quite so blended with the stem. I might rotate this one a little bit more, maybe make it a little longer, all right, so I like the overall shape. At this point, we are good to go ast faras adding texture, but we need to group them first to make it a little bit easier to do so. So let's take a look at the two ways that you can group these layers to prepare them for the texture. Now that our leaves air in place on, we have shaped in the way we want TEM. We're at the point where we can begin and tax sure, but before we do that, we want to organize our layers to make that an easier process. There's a couple of a purchase that you can take here, and the approach that you decide on will ultimately determine how the textures added. I dedicated an entire section just adding texture, so we're just going to focus on grouping here. The first approach is that I can take all of these layers that make up my leaf and Aiken grouping together in a folder. So one of the ways that I could select all of this is with my move tool. Would you drag across my entire leaf? And now all of these layers air selected. I can go ahead and tap of my group. I come I can tap again to Ungar bit. You can also simply pinch to create a group is well, so that's the first approach. The second approach is to take all of these individual curve layers and combine them to create one curve. So when you're adding your texture, you're adding it to one piece rather than multiple. So let me show you a different way that you can select your entire leave here when you're in your layer studio. You've been tapped on the first layer that you want to select, and two finger tap on the last one, and it will select all of the layers in between. So now what we want to do is add these together to create that one shape, and we're going to do that using a Boolean operation. If you recall when we went through the user interface and mentioned that you can find these under the edit menu and these air geometric operations that you can perform on a shape that you've created to create another object. So I'm going to go ahead and I'm going to tap add because again we're adding all of our layers together. And now, if you look at your layer studio, you'll see you of one curve layer rather than multiple, so I can move this around. I can use the no tool, and I can make minor changes. Now the only thing that I can't do with this at this point is used. My move told attack into individual leaves and move them around. But if you take the time up front to place your leads where you want TEM, that shouldn't be an issue. So these are the two approaches to grouping your layers to get them ready for the texture. In the next section, we're going to take a look at the free form pen and pencil tool and use them to create leave shapes similar to these. So I'll see you there 12. Creating Leaves with Pen and Pencil Tools: in the last section. We use the shaped holes to create our leaves, and in this section we're going to focus our attention on a combination of pen and pencil tools to freeform creator leave shapes. Now I'm going to start with my stomach, just like I did in the last one. But instead of using a fill and going to use a stroke, so I have my green color selected here, I'm going to select my pen tool to make my stomach, and I want you tap in a belts about 16 points. So that's just a starting point so that I can see where I'm laying my stroke down on the canvas. Ah, likely change it because we're going to add some imperfections to the stem to give it an organic feel. And to see them that needs to be a lot whiter. So let's go ahead. And when the tap on top again and drag now, I'm not loving exactly how this is bending, but that's OK because this is a vector, which means I can go into my node poll and I can drag things around until it's where I want it so I can use this handle to change the depth of the band that can move my nodes around where I want them like that just about there. But right now this is too thin again to see the imperfections we want to create to make it less static and more organic. We need to make it a little bit thicker. So I'm going to go to my stroke studio and I'm going to make the wit about 60. So now we have a nice line toe work with here. But again, it's kind of boring. Just like thes shaped holes were right out of the rectangle tool. So I want to give this some way venous and imperfection. I'm going to use my handles here in the stroke studio to change the pressure settings of this stroke. Exactly how I want TEM to the two points on either end represent the two points on either end of the stroke. So if I drag this down, you can see the top of my stand there getting more narrow. I'm going to leave the bottom the thickness that it's at, but I actually want to tap and add a handle here and just drag in so that starts sitting out about their. So now I can go ahead. I'm going to add some more handles, and I'm going to drag up and down. And if I go ahead and de select us, you can see that it has that nice way venous that you might see in a real stem. So I'm going to stop with that. At this point, we're ready to go ahead and start adding our leaf shapes, not just like with the shape tools. There's a number of ways that I can add leaves to this shape. Now. One of the things I don't do is create one leaf and then duplicate around because when you're free form drawing of leave, it's a lot quicker to do that, then duplicate one leave and make a change with the no tool so minus left my pencil tool and I want to use a fill instead of a stroke. So I already have my fill selected. I just swap them out, and I'm going to make sure that my use Phil is on here in the bottom in the contextual menu , and then I'll just go ahead and start drawing my leave shapes and you can see that you get a nice way, venous that I want without having to use my node pools to get it. So I'm just going to go ahead at I'm going to keep drawing my shapes out here, and I'm going to try and very the length and width and the way venous as I go around. So we have our leave shaves, and I spent this video up but helpful. You saw the actually used the undo and redo and restarted, and I thought about Attic met out and beginning again. But I wanted to leave that in for a reason. The beautiful thing about using these digital tools is that you have things like undo and redo available to you and digital racers and masks and things like that, because everybody has to use them. Nobody create the perfect shape right out of the gate. I live in it the way I look at my photography. I can go out and take 1000 shots and only like 20 of them, and it's the same way here. I can draw 1000 leaves and have to undo and redo 900 of them, so don't get so frustrated when you can't create this, especially if you're new to the tool. Just keep practicing and keep progressing, and you're going to find it becomes a lot more second nature as you do that our leads are in place and we're ready to go ahead and turn this into one large curb. Before I do that, though, I want to make sure that my stroke in the middle that's making up the stem is actually a Phil that's not only going to prepare it for the ad function, but also for texture. So I'm going to go ahead and going to select that curve. I'll go to my edit menu and top expand stroke. Now, when I top on it and use the no tool, it's no longer a single line stroke. It's actually a fell and my nodes are surrounding it. So now we're all set to go ahead and do the ad function on this. I'll go ahead and select all of my layers. Go to add it, tap, add and we're all set. Okay, so I like I leave shape is looking here. I'm actually going to call this done, and I've already combined it into one large curve by selecting all of the individual curve layers and then doing an ad function under the geometry and the edit menu. I'm going to go ahead on and talk this off to the side for right now and turn it off before we move to the next section. I want to show you one additional way that you can use that pen and pencil tolls to create a different type of shape. This is going to have more stones in it, and you can use the building blocks from this to create things like branches on trees. Because really, they're created the same way there just a larger whiter size. So I've gone ahead and I've selected my Brown stroke. My pressure is back to normal, and I did that by tapping and hitting reset pressure, and I'll go ahead and start with a nice, thick stroke. I don't have to worry about it being Finn or so Tab. Very first electric mental tap tap again and I'm trying drag out. No, I'm actually going to raise this up a little bit more, and I'm going to set my pressure settings now because I want all of the offshoots from the stem to have the same feel. So I'm going to make the top. We're Nero. I'm going to narrow at the bottom just slightly. And I'm just going to do the same thing I did with the last stem when you just add some handles and drag up and down to give it some of that way venous. So now we have a nice start as far as our branch, but I actually want to make this a little bit thicker. So is dragged up the slider here. Now, I want to make sure he d select this because if I keep going with my Pantelis going to complete a shape and I don't want that I actually wanted you offshoots of this. So I'm gonna close my studio here to zoom in now with my pencil and with its de selected, I'm just going to start tapping and dragging out branches. And I want things to be a little bit smaller, so I will go ahead and just reduce the size of that. And you can just make sure you de select each time. And I'm gonna create these little offshoots and you can change the size and you could do this in the back and or even do it as you go. I tend to like to do it as I go, just so that I can see where I might need something else. So can I just make sure you de select drag out, make that a little bit larger? Okay, now that I have my stem pieces in place, I'm just going to take a look and make sure I don't have any overhang. For example, I don't have anything hanging past this. Or if there's anything I want to change the size like these to look a little bit too similar to one another. So I'm going to select this one and maybe change the pressure, setting slightly just to have it be a little bit more unique than the other one. And now you can see because I did that and I made the bottom a little whiter. It actually extended it beyond the stem here, so I'll just take my no tool and it's going to drag that up. So before I go ahead and create one large piece out of this, I just want to make sure everything is where I want it. And I'm liking how this looks. I was going to go ahead, and the first thing that you want to do before you create one large curve out of this is to expand the strokes. So the way we did with the last time where we had to go up to our Adam and you, you can actually go ahead and select all of these in a way to tap on the 1st 1 in two finger tap on the last, go to your edit menu and tap expand stroke. So now that's created fills rather than stroke. So I had the benefit of being able to use the stroke studio to create the feel that I wanted. And now I'm going to convert it Teoh a fill so that I can add the texture and I can combine them. So again, I'm going to go ahead and select qualities, and I'll go to my edit menu, tap, add, and now I have one large curved piece to work with. And because this is a fill, I can also add texture to this down the road. So let's go ahead and start creating our leaf shapes. I'm going to go ahead and do that with this. Let's see, I think we're going to use this nice light green color here, and I'm going to make this a fill because I actually want to use my pencil tool on Phil. So I have selected used Phil here. I'm just going to start drawing out leave shapes and they don't have to be perfect because they're leaps so they don't You're not going to get perfection from leaves. Just you can always go in and you could make changes if you want. Or again, you can go ahead and delete them and start again like I kind of went the wrong direction with that one. So I'm gonna go here, and I'm just going to go ahead and draw all the way around until I have all of the leaf shapes that I want on this stem. So I like how these you're looking and you can see that you can use your pen and pencil tools not just to create straight lines or curves, but you can also go ahead and creating type of leaf shape that you want. So it is one of the reasons that I lean more heavily on these Freehand tools in the shape tools us because I can get it where I want a little bit quicker than I can use my no tools on the shape. But I wanted to show you both ways because really, it's up to you whichever works best for you. Now, before we move on to the next section, where we're going to start adding texture. I want to do something with these multiple curve layers with these leaves, and I'm going to just go ahead and do a Boolean add operation on this so that I have one curve layer toe work with. I could have just as easily grouped at, but I actually want to be able to add my texture uniformly across one layer rather than multiple. So again, in the next section, we're going to start adding, pack sure to the leaves that we've been creating, so we'll see you there 13. Adding Texture to Single Layers: One of the benefits of using designer is that you have the best of both worlds and one app so I could create this flat illustration using the doctor tools and designer persona. And if I wanted to add additional depth and dimension, I could do that by using the raster pools in the pixel persona. Now, the way that you add the texture depends on how you've grouped the elements in your object . I broke him the texture sections into two sections. The first is going to focus on how you can add texture to a single curb. So in other words, we take a number of individual curves and combine them into one. The next section is going to show you how you can add texture to individual curve layers that are simply grouped together and before we get started and actually adding the texture . Want to remind you that any time you pull in raster elements, you need to make sure that you size your original document accordingly and size up to the largest size you plan to print so you don't run the any quality issues. Beyond that, you also want to make sure that any of the tools that you use, whether it's texture, files or rushes are also high quality and high resolution, whether it's ones that you create or purchase. I have included a list of my go to brush makers and texture makers in the Resource Guide. In case you want to take a look at those, The first step I usually take to add texture to a single curb is to add a texture image file. So I'm going to go to my document menu intact Place image, and it's going to give me the option of either importing from the cloud or importing from my iPad. Since my text files a rather large I keep them on the cloud and shiny. Go ahead and select one of these textures from this collection that I have here. I like this one in particular, that's going to go ahead and tell me that you can drag to place your image and you want to make sure that you drag large and if you need to size down, that's OK. But you don't want to place your image small and size up because once again you could run into quality issues. So I am going to drawing this down now, but I placed it. I'm going to drag it down slightly, just going to get a little bit more manageable. But right now, this texture file is sitting on top of the leaf, and I can't see where it falls within the shape itself. So I need to clip this and I'm going to do that by dragging layer until the blue line shows up in the middle of the layer that I'm clipping to and make sure you keep your pencil to the right because moving at so the left is a completely different function. So I'm going to go ahead and move it there and I'm going to release. And now my texture is within the leaf itself, and I can better see where I'm placing it. When it comes to these texture files, I find the earlier the better. And the reason for that is when you start using blend mode working with particular colors, these little imperfections come through in such a way that it really turns to look very much like the perfect lee in perfect imperfection that you see on an actual leaf or flower . So I like this cretinous and I like this light and dark in these little spots, so I tend to use those over the softer textures. Now this is a little too much. So I'm going to go ahead and change the blend mode. And since since his own layer still, I can go ahead into the layer options, and I can either drop the opacity or if I want, I could start flipping through the blend boats and you can tap through. Or if you happen to use a textural A and you know what blend mode works best, you can also tap on, just select. And for this one, I know that they're soft late or hard. Light works best, possibly even over late. I want to go with hard light, but this is a little too much, so I'm going to go ahead and drop the opacity. So now I have added the first layer of texture, using a texture image file. The next supple, typically take is using my vector brush to add a little bit more detail. When it comes to adding texture to your illustrations, you don't have to rely solely on a raster tools, whether it's brushes or image files. You can also use your vector brushes. And the benefit of doing that is that you don't have to worry about size and quality because their vectors. So I'm going ahead, select my vector brush. I have this awful white color selected, and I'm going to go into my brushes here. And I actually like this set by Frank in tune when this lack of this mud speckles and I want to make sure that my brushes rather large in this case, that is going to swipe. Now this looks a little chaotic. We have a lot of stuff on the outside of leave, but just like with the texture file, we're going to clip this. So I'm going to group these two and clip them as a group of selected both layers, not just to stop here for one second. Whenever you use a vector brush. The beauty is just like when you're creating shapes, you get separate layer, which means you can go in and you can use your no tool to move things around. You can use your move tool to size and move things, so you have a nice, separate layer to work with. So again, I'm going to group these two together, and I'm going to go ahead and clip this by dragging down, and once I release, everything is within belief. Now this is a little too intense. So again, I'm going to go ahead and change my blend boat, and I'm going to change it for the overall group because these are separate layers. You can go into each individual one if you want, but in the interest of time, I'm going to do this as a group. Sell go to layer options. Not again. You can click through until you find one that you like. I like this color one, but I think I want some of that creamy color to come through. And I happen to know that soft light works really nicely for this one. So I just tapped and I'm going to go ahead and just drag down the capacity a little bit now . Its added some of that nice little spotty nous that the brush had in it, but it's a little bit more subtle, so that's the second method that you can use to add texture to your illustration. The next is employing raster elements by pulling in your paint brush tool from your pixel persona. One in the final ways that I add texture is using the paintbrush full in the pixel persona . So I'm gonna haven't slept in makeup. So persona and the paint brush tool. And I actually want to add a little bit of color with this one. So selected this teal color. Now, just like the vectors, there's a number of built and brushes. I'm actually going to use one of my favorite texture brushes by Frank and Tune here, though, So I have gone ahead and I've selected my brush boy and drag up a little bit, make us a little bit bigger, and I'm going to select the curve that I'm adding to, because when I do that, it automatically clips the layer to back curve. I don't have to drag it down, so I'm just gonna go ahead and I'm going to add some color here and there. I'm going to be using a blend mode, so even though it looks a little bit too much right now, we're going to be blending in and out of it, so I like that now. Let's go ahead and change the blend mode here. So the difference between working with a vector brush and working with a paint brush tool is that unlike with the vector brush where you get a different layer with each stroke, no matter how many times you pick up your pencil on, lay back down. You're using the paint brush tool. It's all in one layer. So if you do want to use different blend modes for each of your strokes, make sure you're adding a new pixel later each time. In this case, I'm using the same blood known opacity. So I just kept it on one layer. I'm going to go ahead in, and I'm actually going to change this, I think to color because I actually know that works really well with this. You could also just flip through until you find one that you like. I was going to drop the opacity a little bit, and now we've got had an added texture three different ways to this illustration. We used an image file. We've used the vector brushed hole, and we've also used a paint brush tool in the pixel persona. Now you can use one or all of these. It's totally up to you and the look you're trying to achieve in the next section. We're going to take a look at how we can add texture to a group of individual years using these same methods, so I'll see you there. 14. Adding Texture to Groups of Layers: in this section, we're going to take a look at how we can add tax sure to a group of individual layers rather than one large curb. This is the leak shape that we created in the shape whole section. It just changed the color so that you can more easily Stephen Texture. This is the one where we left the individual leaf layers separate so that we could access them at a future date, and we just group them together. That means we have to approach the texture definitely with the last leave. Their first step that we took was pulling in a texture image file using the place image function. But we can't do that here because you can't clip joint overall group. Instead, we're going to go ahead and use the fill tool toe. Add an image file, and I want to keep the color of the leaf and just add the texture on top. So I'm going to go ahead and I'm going to duplicate the group, and I'm going to add my fill to this group. Late arrival in the bottom one. I'll go ahead and select my Phil Towle, and I'll drag up and you'll see him great hand form, but this isn't the type of radium we want. We're actually going to go to the contextual menu and will select bit map and that will allow you to pull an image file in as the Phil. I'm going to go ahead and select this one right here. You can get some really interesting results right out of the gate with the Phil told. But this isn't the look we're going for. We actually wanted to have that nice, subtle organic texture that we had with the other ones. I'm going to use these handles to drag this around until it's place where I want it. So again, I like how it has that nice bready texture, and there's some dark and light areas here. I'm going to go ahead back to the group, and I'm going to change the blend note of the group overall so I'll select the layer options, and I'm going to just go ahead and select soft light because I knew that that works best with this particular texture, you could scroll back and forth until you find one that you really like. I actually think I like hard light better. So we'll go with that and we drop the opacity a little bit. So now we have that nice texture here, and we have some dark and light values, and we were able to add texture to leave overall. Now, what about adding texture using the vector brush tool or the paint brushed one pixel persona? We can do that. So let's go ahead and take a look at how. If you want to add additional texture to a group of individual layers using either the paint brush tool in the pixel persona or the vector brush tool, you can do that. But again, you can't clip to the overall group, which means we need to focus our attention on the individual leaf layers. So in other words, if I go ahead and I select me vector brush toll and I slept that seem brush that I used previously, I'm gonna make this a little larger, and I swiped down. It looks just like it did with that last week. But if I go ahead and group Theisen train clipped, Um, it doesn't do anything, it just adds it to the overall group, and I still have this mess on the outside, so I need to focus my attention on each individual. We've so hands stuff to leave and I'll swipe and I can go ahead and clip it that leave and now change the blend mode. Just drop that down a little bit and I would just work my way around. Now. This is why it becomes time consuming, and you also have to give it a little bit more thought because you don't want to look. Had anything look like it's placed. You want it to look organic, which means you really need to think I had is toe where you're putting your texture because you can't simply swipe across the entire shape. The same goes for the pixel persona and using the paintbrush whole Sulka heads like that seemed blue color and that other one that we use before. And I'm gonna select this top leaf again. You still left in the individual layer and you start using the pixel brush. It's going to automatically clip that picks a layer to that one. Let me zoom in here, miss start painting in blue and you can see it's already clipped here and I could go in, and I could change the blend mode to try something with color, and I'll drop the opacity. But again, I need to work my way around this leave, so I'm going to go ahead and do that now. And I'm going to work my way around the leaf using a combination about the vector brush tool and the paintbrush. Cool. Okay, I am going to stop there. I added some texture, using both the paint brush tool in the pixel persona on the vector brush, and I won't tell this looks. But it took a lot of work to get it to this point where I could have achieved very similar results simply by using one acre. Now it's really up to you how you want to approach it. You may find that you haven't need to use a group of layers rather than a an individual curb. And like I mentioned previously, when it comes to the flowers, I do tend to use grouping a lot rather than combining everything. So it's just a matter of your needs and how you want to approach it. But just keep in mind that when you use this particular method, it's going to take more time and a little bit more thought up front. So in the next section, we're going to take a look at how we can be in creating for all shapes to using the built in shapes in the rectangle tool, So I'll see you there. 15. Simple Flowers from Shapes: over the next two sections, I'm going to show you how to create a range of flowers from simple to more complex, using the built in shapes in the rectangle tool. What you'll learn in these two sections will provide you with the building blocks to go on to create even more complex florals as well as other illustrations. So let's start it. Let's take a look at how we can use the Ellipse tool to greet simple floral shapes like this. I want to go ahead and slept my fill and again. I typically don't work with a stroke, just a fill in. Select this peach color and I will make sure that my ellipse shaped is selected in my rectangle tool, and I'll straight. I got a nice, long a narrow the lips. Now this is my starting point for my paddles again. It's a shape, not a curb, so I need to convert it so that I can use my no tools. Now when I select the noodle, I have these nice, smooth notes to work with. I want the top in the bottom to be pointed, though, so I'm going to go ahead and drive across and select them and tap sharp in the contextual menu. Now this is a good starting point, but it's rather generic. I'm going to make some additional edits to the appearance, but first I want to create my entire flower shape first. So also let this paddle with my move tool, and I want to make sure that my transform origin point is on its A little bull's eye in the contextual menu. And what that does is tell designer what you want, where you want to rotate from. So right now that liberals eyes in the middle of the shape. So if I start rotating it, it rotates around the center of itself. I actually wanted to rotate around the bottom of the pedal, so with my snapping on when dragged up down and the sound was going to invite it as well, a snap it into place. Now, when I rotate it, it's rotating around the bottom of the pedal. I'm ready to start duplicating this. So with its elected, I'll go into my edit menu intact duplicate, and I want to begin rotating my pedals at 45 degree angles, and Aiken guide that by starting to drag and then tapping my finger down holding it, and it's going to snap in 15 degree angles. It's no, I'm at 45. If I continue to hit duplicate with this selected, not only will it duplicated, but it's going to continue to rotate it. It's 45 degree angles. Let's go ahead and do that, okay? I have my entire flower shape here and again. I don't need to work with the individual layers, so I'm just going to go ahead and select, Um, and I'm going to create one large curve by tapping ad, and now I have one piece to work with. It's looking a little one dimensional, though actually want there to be multiple levels off paddles. I'm going to duplicate this in place again and his rotate this out just slightly. Now, in order for there to be some depth between the two, I'm going to go ahead into the bottom curve and just drag down from the icon for the color studio just to change the dark and light value of that. I'm not going to change it a lot. I just wanted to be enough that you can see the difference between the two layers. So now this is looking a little bit perfect. And I don't want that you want to kind of play into nature's perfect imperfections. So hands left my no toll, and I'm just going to start dragging out in various areas with my no tool. Okay, we have some nice differences between the pedals. There's a nice depth and dimension between the two layers. I think I'm gonna call this done and now move on to the middle of the flower. So just go ahead and select my lips shape again. And this is one of those instances where I use both of filling a stroke when it's like this yellow for my fill, anything white for my stroke. And now when I start dragging out a circle that hold my finger down, we'll get a perfect one. You can see that this stroke is rather large, and that's okay. In this case, we're trying it. Change it in one moment, dropping into the middle of the flower. Now I want to change the appearance of this troupe to match one of my brushes, and in particular, I want to select the brush. That's the steam and brush that I provided in the downloads when I tapped. That is going to change the appearance to the dot formacion that's in the brush itself, and I can go into my strokes cheating. I can make this larger. I can also change my alignment to get some different books. I actually like this particular one because I like when it's a little bit on the inside and a little on the outside, but it's totally up to you. I think I'm going to make the middle so little that smaller Okay, I think that's done. That's how we can create a nice, simple flower shape, using a combination of the ellipse shape in the rectangle tool as well as a specialty brush . When do we want to show you how to use a combination of a triangle and a crescent shaped to create another flower information. I created this flower shape that could be used two directions with a combination of the triangle shape on the crescent shape. Let's go ahead and select our Phil. I think I'm going to go ahead and just keep that yellow that we use and I'll turn my stroke off. I want to select my triangle shape. I'll just drying out a triangle. Now again, I want to convert this to occur, and then I want to flip it. So although into my transform studio and you a vertical flip, select my move tool and make sure that my transform origin point is at the bottom of my pedals will just drag got down. I'm going to make this a little bit smaller is to give ourselves some room to work. I always make sure that I about Center is on so that when I do size up and down, it doesn't even leave. Now we're starting ready to start duplicating this now. I don't actually want to duplicate this in perfect angles. I'm going to start by duplicating that shape, and I'm just going to drag out to where I want it now because I don't want it to continue in that same with I'm going to de select and I'll select again hit, duplicate, and I'll just drag this out to where I want it again. I'll be select and select again and hit duplicate. I'll drive that to about there. Let's make this a little bit smaller. I also want to make it one large curve. So again I'll select though the layers and do an ad. Just make this a little bit smaller. Now I want to duplicate this sheep in place. So we have that seemed death we had with the last flower, so it duplicated in place. Now I'm going to drag my transform weight down to the tip of the triangle just to keep them aligned, and I'll just rotate out, make it a little bit smaller. I don't want this perfect. I don't want right there. What a little bit overlapping and Mutond select. And when I do that again, it doesn't have any short of death, and I want that. So I'm going to change the light value of the bottom curve in a drag gallon for my color studio. And I think I'll make the top one a little bit later. It's now have a nice contrast between the two, but again, these pounds or a little too perfect. So I'm going to go into my node pool and I just want to make some changes. Okay, I think that looks good like that, and you can make whatever changes you want. I have a tendency of always going back in and making additional changes. But in the interest of time, I'm going to call this done. I'm going to make it a little bit more narrow, though. And now I want to select my crescent shape and select a nice green for my fills will drag out a crescent. And this is where I'm going to use one of those red transform notes here. So this is still a shape, but I have some drive this up. Then I'll go ahead and convert it because once you converted, those little red dots are gone. You can't use them anymore. Some point to start rotating this and dragging it in with my moved whole. And I just try and size it to about where I want it. Sometimes you can't get it perfectly aligned that That's okay if you want to leave it like that, where you can select your no told him. Just drag in tow where you want. I might also make this a little bit in perfect. No SPAC out and see how I like it. Okay. And that's how you can use a combination of the triangle tool travel shape rather on the crescent shape to create a flower that can be used in two directions. So facing up it can look like a flower that's almost closed and facing down. It can look like a flower that's fully open and facing the sun. One of the things that I like about doing these illustrations with the flowers is that I can give a nod to my favorite flowers without them being exact. You can go for realism if you want, and you these tools will get you there. But in this case, I like to have a little bit of lazy and fun with my flowers. So I created this camera meal flour. Using a combination of the trap is oId and a lip shape as well as my specialty brush. Let's go ahead and take a look at how we can create this. We'll start by creating The trap is oy the pedals with the trap is oId. So I want to select this nice off white color for my fill and select. My trap is Oy 20 drag down. Now again, I need to convert this to curves that I could use a no tools. I kept curbs. I'll select my no tool. I want the path between these two notes. We bent in a little bit, so I just want to drag up and I'm going to drag these two notes in towards each other. And if you hold your finger down when you do it, it will keep it straight, and I might bend the paths out here is Well, okay, so I have a nice start to my camomile flowers when you make us a little bit smaller, so we have room to work. Now I'm going to make sure that my transform origin point is at the top here so that we rotate around the middle and track this down. And now I can start duplicating, and I'm going to duplicate a 30 degree angles, swelled, duplicated and turn dragging and hold my finger down and snapped a 30 degrees. Now I'll just continue this around to create the full flower. Okay, I have my entire flower shape there and again. I don't need to work with the individual curves. I'm going to create one large shape out of this. The easiest way to do this because it's so large, is to go into my layer studio. So left the first curve and then two finger tap on the last, and I'll go ahead and doing ad operation to know I have one large curve to work with, and I'm ready to add the middle. So go ahead and select my the less. And I think I'll select this orangish color. Make sure that you de select you are shape before you change the color. And when it's left this red from a stroke, we'll start dragging out and again hold your finger down to get a perfect circle. If you want gonna place this in the middle of the flower and I'm going to change my stroke again to the steam and brush, I'll drag it out to the largest with. But in this case, I actually want that on the inside. So go to my advanced settings and I'm going to tap this middle one so that the DOT formation is on the inside. Now, if you wanted to, you could go back in with your no tool and this change some of these pedals just to make them look not quite so perfect. All right, time to stop there so I like how this looks again. It's a various simple flower shape, but we created it using multiple shapes as well as a specialty brush. In the next video, I'm going to show you how to start creating somewhere complex flower shapes again, using the shape tool, so I'll see you there. 16. Complex Flowers From Shapes: in the second look at how you can use the built in shapes and the rectangle tool to create your florals and going to approach the more complex floral shapes like these and show you how you can use a combination of shapes as well as especially brushes to create these flowers. Let's get started. Let's start by creating this dahlia type shape, and we're going to use a combination of the ellipse shaped and the duplicate and rotate function to create this more complex flower. I'll select my ellipse and drag out an ellipse to make it a little bit wider here, and I'm going to convert this to occur. But I'm not going to change the nodes at all. Want to drag my transform origin point down? And I want my initial set of pedals to be very dense because the Dahlia flower is very dense in its arrangement. So go ahead and do a duplicate, and I'm just going to rotate 15 degrees and a way to continue this all the way around. Okay, I have my full set of pedals here, and I'm gonna head and I have dragged up, selected it and didn't add function to create one large curve. Now I'm going to start duplicating miss rotating and sizing in as I go. And because that duplicate function remembers all of the steps that I took, it will continue that for me as I go along. And one thing I want to know if I change the darkness and lightness values of the various levels as I'm going through this because there's so many layers and it's so dense, I find it easier to change it as I go along and waiting until the very end. So I'll go ahead and select this and hit duplicate. I want to rotate this to the middle here. Took about 7.5, and I'm going to go ahead and hit duplicate. I'm keeping that the same size right now, the back to paddle sets and keeping large, and I'm going to rotate this again. But I'm not going to do it quite so perfectly, and I'm just going to size in. I want to change the level here and I'll go ahead and keep hitting duplicate. With that selected, I'm going to ground my lips again, and I'm going to choose that yellow color for my fill and when his shoes white or off white , rather for my stroke now drag out may circle and I'm going to move it into place and make it a little bit smaller. And I want to change the stroke to my brush against all. Choose my steam and brush. Now, in this case, I actually like that. It's in the middle again, like it was that the one of the last flowers were created. So that's how you can create Dolly. A tight flour using a combination of the ellipse shaped as well as the duplicate function in the added menu. Let's go ahead and take a look at another one. We're going to create this Gerber daisy flower with a process similar to what we use for the Dahlia. What? We're going to shifted a little bit so that we can get this more ragged feel that the baby typically has. So I'm going to go ahead and also going to look. Now we have Phil, but a slight Stroup just to give a little bit more definition between my pedals shall select my lives and drag out a nice narrow oval converted to curves, and I want to make sure that my transform origin point is at the bottom here. We're going to start duplicating Mr Randall, but we're going to do it in a much more random way than we did with Dahlia Silva and duplicate this and want to rotate it. I'll let it do its thing again, but I'm going to drag it out, and I'm just going to continue to repeat that around and move it randomly until I worked my way all the way around. I don't want to create one large curve out of this because if they do, it's going to convert the entire thing to this off white color. And I'm going to lose my stroke. So I'm going to go ahead and just left the whole thing. Go to my layer studio, and I want you group that now I'm going to duplicate the group. But unlike with the Dahlia, where we rotated and kept going inwards, we're going to randomly size down and up as we duplicate inward. Now, I kept this middle section a little bit empty for a reason. Most Gerber daisies have another set of smaller pedals around the middle shapes. Let's go and grab our lips, and I'm going to create my middle section with a mix of this. We'd color for my fill and this brown for my stroke and I'll drag out my circle. I don't need it to be too big, because again, I want those paddles around the middle of this in place, and I want to make my stroke much larger, and I want to select the steam and brush, so we're all so they're middle now. I want to create that small pedal now select my lips again and drag out a small oval here, and I'll go ahead and drag my transform point to the bottom and we'll move it into place over the middle section. I want actually center it now in a size down a little bit, and eventually this is going to be behind the center. But for right now, I want it on top, just like and see what I'm doing, and I'm going to go ahead and duplicate this. I am going to go in and I'm going to start taking some of these out. I really just wanted to get this shape and place just to see where I wanted it. So just take some of these out, and now I'm going to go through what? I'm going to change the size of some of them. I think that's actually good enough. Holding Teoh Group thes till select the 1st 1 to figure tap on the last one and later show you because this is sitting on so much other stuff. It's a lot easier to use my later studio instead, and I'm going to drag this below the Ellipse, and I just shit it slightly. When you go ahead and duplicate this, I'm going to rotate it and I'm going to make it a little bit smaller. And that just gives it another group of pedals that I'm going to make a different color. So there's our Gerber Daisy again. Once we start adding texture to this, there's going to be a lot of her definition to it. But this was created using a series of ellipses as well as our specialty brush and a process of using the duplicate function while randomly spacing both the actual pedal and in sizing up and down as we move our way in work. And finally, let's take a look at how we can create these abstract hype poppy flowers using a combination of the crescent tool ellipse toll as well as the pencil tool to do these little cutouts to give it that ragged feel. I'm going to go ahead, and I'm going to use these various shades of blue as my felt like, and I like to have fun with the colors of these flowers. They don't have to be perfect. They don't have to be realistic. You could make them whatever color you want, especially when you get into the Rome of abstract like we're here. So I'm gonna start with this lighter blue and I'll select my crescent shape and just drag out of crescent, rotate it and converted to curves. Now I want to use my no tool to just give it a little bit of that wave that you might see in a poppy flower. And let's drag this note out a little bit, and now I want to select my pencil tool and make sure that sculpt is on. Now. Just a disclaimer about this process. I mentioned it when we went through the pen and pencil tools. It can be very frustrating and it takes some practice to get used to doing it. I recommend doing it slowly and carefully, so you're going to start from the top and just draw down and up and release carefully. Inevitably, you will have to undo and redo at least once, and I guarantee you'll have to do it here. But again, just practice and it becomes really candy to do cutouts in different floral shapes. So to start drawing down and just carefully drop and you can see that's breaking the path and creating these little cutout shapes. And I'm going to vary the size as well as the distance until I make my way all the way around. If you do have to undo and redo honestly, it was a miracle I didn't have to there. Sometimes it helps just to go to a different spot and try again because there's just particular spots, especially whether some curves or you might have some trouble. But again, just keep practicing and went ahead and create another crescent. I'll move this out of the way, and I'm going to use this darker color now, and I'm not going to create the wave on this one. I actually wanted to be very much like a crescent, and we're going to use these to build up with an open flower sheep as well as a close. Once I want again, I'll go ahead and select. My pencils will make sure it's on sculpt, and I'll just work my way across the flower. So as you saw, I had to do undoing redo a few times on that one. Time to drop the lightness of this a little bit more than I'll move this one out of the way and we'll go ahead and create one more and I'm going to choose this mid range color here. So now we're going to actually duplicate two of these so that we can create our one large open shape. And I'm just trying to start rotating these around and just changing the size and just building up on one another until we get a nice open shape. Let's go ahead and add our center. I'm going to select yellow and black for my stroke. Most drag out a circle, and once again I want to go ahead and choose my steam and brush, and I want it on both the inside and outside, but I'm gonna drag it up. So its its largest size eso There we have our first completed piece. Let's go ahead and use a few of these same layers to create the closed piece. Someone select somebody isn't to drag out some duplicates. And I think I want that really small piece toe, then drag across this large piece and group it so we can move it easily. And I was going to go ahead and I'm going to roti these pieces together, and I want them to have layer with one another just to give them that closed flour paper feel. So actually, like how that one looks. I'm going to go ahead and I'm going to select my Let's tool with the same colors. But I'm not going to drag a full circle, actually want it to be a little bit more narrow because I don't really want anything hanging out, and I'm actually gonna change the color toe white because I do want to show you what you can do. If you do need to place it where some pieces air hanging out, go ahead and change that to the steam and brush. Make it a large is possible and then drop it behind. So I'm just gonna go ahead and drag this in where I want it. Now, you can see some of this hanging out, and I don't want that. I just want it to be in the space here. What you can do is go into your pixel persona and grab your a research tool. So left the layer and just started racing away to spots that you don't want. It's going to add a mask to that particular shape and just mask away the extra There in the next section, we're going to start adding texture to some of our floral creations so that you can see how we can build up and create even more depth and dimension in our florals. So we'll see you there. 17. Flowers with the Pen & Pencil Tools: in this session, I'm going to show you how to create flowers like these, using the freehand pen and pencil tool in the designer persona. So let's get started. Let's go ahead and create this flower shape. Using a combination of the pencil tool and the Ellipse shape, I'm going to go into my color studio and select this lighter color for my fail again. No stroke. I'll select a pencil tool, and I want to make sure you use photos on. And I'll just start drawing out bipedal shape and again when you use the pencil tool, even if it looks closed. The sheep isn't yet, but I'm going to close is once I create both pedals so that again I'll slit my pencil tool and I'm going to draw up from the bottom here and do my second pedal. Now I want to go ahead and close vote that he used. So with my move, Schloss, like both changed my note full of just tap close. And while I haven't both selected, I'm going to create one large piece. So I'm going to my edit and you can add, and I just want to take a look at the bottom because sometimes they won't meet up or you'll get this whole jagged marks. I'm going to select this with my no tool, and in this case I'm gonna drag the handle So it's straight. I'm going to delete these nodes that are causing this problem, and I'm going to make sure this one is smooth and delete the other. And now we have a nice pointed bottom. It's aligned, and we have our first front pedals to work with. Let's go ahead, Creator backpedal. Just like my pencil tool. And I want us like this Vereker salmon color and I'm just going to start drawing out and it doesn't have to line up. That probably shouldn't. And I actually want to start that again because I wanted to dip down a little bit more than I did. And they get almost like a heart shape, and I'm going to go ahead and close it and then drag it below the other curve. So let's take a step back. Now. I want these two meet up a little bit more, so I'm going to drag this note over and was snapping on it, flying Teoh line up there. But I have a little bit of spot here does peeking out, so I'm going to hold my finger down as I drag this handle. So it only drags that handle, and then I could just tuck it in. I don't necessarily need all of it meeting up. I just want to move it over just a little bit. I like how that looks. I might pull this up just slightly, May at a node. Now, let's go ahead and create our middle and when sloppy lips told and I'll select this brown color for the Phil and Black for the stroke, not just draw out my shape, all tapped a curves and I'm gonna change the stroke that steam and brush, I think I'm gonna lighten up the middle a little bit. Or rotate this into place and tuck it between the two curve layers so that it's in the middle there now. Because of the size of this, there shouldn't be any issues with any sort of stroke hanging up, but just to be on the safe side and when it changes to a white, just to be sure, so I don't see anything. Mayor. The only thing I might do is just select the whole thing. And I'm going to kind of make it a little bit more narrow, amenable, shorter. Okay, I like how that's looking. Let's move on to creating a chrysanthemum Jozy, the pen tool. We were going to use the pentacle to create a series of strokes that we're going to then group and turn into this nice, shaggy chrysanthemum. So I'll go ahead and select my primary color. I think I'm going to start with this off. White color is my fill again. I don't need a stroke, and I'm going to select my pentacle on pen mode and I'm just going to start tapping and dragging. So I get a slight curve that I want to de select and start from the same point and just hurt tapping and dragging and various sizes and various distances. And I want to change course and I'll make sure you do the select because I didn't there. It actually completed the circle. So I was gonna go and de select, and I'm gonna change course here and go the other direction. So just keep doing this until the whole thing is completed. Okay? I like how it's looking. I'm going to go ahead and select the whole thing. And I want to make sure that the bottom is completely in alignment because I did move some of them. So I'm going to select my transform studio and go into the alignment and just to align vertically at the bottom and didn't move. So it looks like it actually was OK, if you start from that point each time, there shouldn't be an issue. So now I'm going to go ahead, and I'm actually going to slept the whole thing and make it a little bit more narrow and rotate it slightly. And I'm going to change the right bound so that the handle moves with that shift that I did . Now we're going to create an entire round shape out of this so I'll go ahead and all duplicated and when you move my transform, know down to the bottom here and just start rotating out and again, I'm going toe, let it do its thing and duplicate all the way around. Okay, so we have our first shape here. I'm not going to make one large curved out of this. I actually wants you just create a group out of it. So I've selected all the purveyors and I'll tap Group. Now we're going to start duplicating this group. Usually get a little bit smaller first, so duplicate the group, rotate it slightly in no random do relatively randomly so that it doesn't look fake. It looks a little bit more like feature, and I'm going to change my curve. I'm sorry, my fill as I go, so I have the group selected, which means I can go ahead and tap and change my fill and a drop. Be lightness a little bit and I'm going to let it duplicate itself again. I'm going to increase the lightness. I'm going to rotate and I'm going to drag it in just slightly when you let it do it again and again, just drive down. Now I'll do it one more time, and I'm going to decrease it a lot more this time and change the latest about you. Yes, we have a remain flower shape. I'm just going to go ahead and just drag it into slightly, and I'm going to group the whole thing now I want to create my center. Shapes also left my lips tool, although in and get a philae wanting to pick this place things green color and a black Stroup and I was drag out a circle change my state, my stroke to the steam and brush. And I think I'll make this a little bit smaller. And now what will end up doing roomy add texture is just adding texture to each of the group layers so that we have a little bit more dimension. But the reason I was changing my light dark values was to give it a good start. That so there's Arkansans. Um, I'm using the pen full. Let's go ahead and create one more shape using the pencil tool. Let's go ahead and create this final shape using our pencil tool. The first thing I want to do is turn on my guide. Sometimes when I'm creating flowers like that, I find that guy. It's very helpful, So I'm going to go into my document menu. Tap died and turned them on. Now I had already created one for another piece, so it's already out there. If you don't see one when you tap show God, you could just add horizontal and add vertically, and you can use your move tool to drag them where you want them. So this is all set to go ahead and select my pencil tool and I want to select a color. I'm going to start with this yellow Phil and no stroke, and I'm just going to start drawing Epsom pedals and I want four all the way around. Okay, I have my four shades and I'm going to turn my guidance off just so they don't get in the way. Now I want these to be closed. I'm going to go ahead and slept. All four. Go to my no toll and tap close. Now my shapes are all set, and I'm going to start dragging these together a little bit more and rotating them because I'm going to create one large piece. But I want it to be a little less like across and more like, say, an iris or something like that. We'll also make some of these little bit more narrow and just rotate them a little bit, so it's not quite so perfect. Okay, I like how that's looking. Sometimes you just need to turn your stabbing off. I'm going to go ahead and select this, and I'm going to create one large curve by doing an ad operation. Now I want to duplicate this again and I'm going to drag out. But I'm going to drag away so that night pedals aren't all the same next to one another, and I'm not going to be perfect about this. I don't want it so perfect that it looks evenly spaced. I actually want it off like this, and I'm going to go to my bottom layer and drop the lightness values just slightly to give it a little bit more dimension. If you wanted to, you could also make an additional shape and make a smaller piece. But I think we're fine with this. So go ahead. So choose my lips toll and I'm going to select this chestnut color for the Phil, and I think, probably black for the stroke. I'll go ahead and drag out my shape, changed my stroke, and I think we might shift some of these pedals just slightly and then that section we're going to start adding texture to some of the flowers that we've created so that you can see how you can very easily add additional dimension to your floral creations the same way that we did with the leaves, adding some raster and vector elements, so we'll see you there. 18. Adding Texture to Flowers: in this section, we're going to begin adding texture to the flowers we created in the last two. Just like with the leaves, the way that you add texture to these flowers is determined by whether you've grouped a number of individual layers or you've combined the layers create one large Kerr. Let's get started. I'm going to start with this simple flower. And while it's group for convenience so that I could easily move it around or turn off layers, ultimately it is three separate individual curves that I could easily add texture to individually. So I'm going to start with this light paddle at the top. I'm going to start the same way I do with my leaves. I'm going to place a texture image file, and I'm going to choose a lighter texture because I want to play into the dark and light value differences between the two layers. So again, I just drag large. You can always size down, but you want to drive. You want to size up first at the end of the drivers in a little bit and move it over. Now I'm going to clip it to that first curve, so dragged down and clipped. And when they change the blend mode of this too soft light, I'm not looking for anything obvious. I wanted to You rather subtle and back. I think I'm going to go ahead and change the capacity to slightly snow when you go ahead and choose something for my bath one. And I'm going to choose a little bit darker texture to pull out some of that difference there. So go ahead and choose this one here. I'm gonna drag down and clip it. Then I could go ahead and dragons. I can see where I'm going. Family come X plays like how there's this subtle, organic kind of messiness here and I'll go ahead and change the blend Motor this. I'm going to try what overlay and softly just to see how both look. I think I like overlay and I'm going to drop the opacity just slightly. So now I have my first set of texture on both of my pedals. I want to play into the difference between the two a little bit more by adding some more texture to the top. But I'm going to stick to my vector brushes and we're going to use some of the built in brushes here. I'll select my doctor brush tool, and I'm gonna go ahead and use eyes off white color for my brush. And I'm going to use one of the built in wash brushes, specifically the squash. For when you do short strokes, you can really see the variation. And how the brush lays down is drawing up a little bit larger, and I'm going to start drawing in in various directions, just like we did with the leaves. And it's going to look chaotic at first. What? We're going to clip this to change the blend mode, so go back into my layer studio and again when you're working with a vector brush, you get separate layers each time you lay down a stroke. I'm going to select the 1st 1 in two finger tap on the last so that I can group, Um, and I'll go ahead and clip them to that top curve. So this is a little too right. I'm going to go ahead, knock back the brightness just by changing the blend mode, and I'm again going to go with softly, not like habits looking. But I want to drop the opacity just slightly. And like how that looks. We have some nice variation and texture between the top and bottom level, as well as a difference in the dark and light values. I'm going to add a little bit more subtle texture to this, using my doctor brush and I'll go ahead and select. My thinking brushes specifically my fountain pen ink, and I am going to make the brush a little bit smaller and have his off white color select, and I'll just start drawing minds up. Okay, I have my lines in place. The first thing I want to do is write. My campus will go to my Navigator studio and under canvas rotation when a tap and piping zero that's going to bring my campus upright again. It's important to make sure that you do that throughout, so I need to clip these curves. It is top layer of Leah's. I'll select my top curve and in two finger tap to select the bottom grouped Um, and now I can cook the whole group. Ted, this curve, it's a little too obvious again. I wanted to be more subtle, so I'm going to go ahead in and when it's used, the lengthy Glenn mood too softly and just drop the opacity a bit. I really just want subtle lines here. I don't want them to stand out too much. Now. I could take this a step further, and I could go into my pixel persona, grab my paintbrush tool and perhaps add some subtle shading throughout or some variation of color. I like how this is looking. It's a relatively simple flower, so I want to keep the texture simple overall. But it's really up to you. Let's go ahead and take a look at another flower. In this exercise, we're going to add texture to a flower that's made up of a number of groups of individual layers. When we created the Chrysanthemum Flower, we used the pant hole to create all of these individual curbs. To go into each individual one and add texture to it would be very time consuming so and stab, we're going to focus on adding captured to the groups that make up the whole flower. The first thing I want to do is make sure that these curves are no longer just strokes, but they're fills because you can't add texture to a stroke. We'll just go ahead and I'll select the four groups, go into my attic menu and tap expand stroke. The appearance doesn't change with the type of curve your working with does. They have now been expanded. So rep working with Phil's rather than strokes, which means we're ready to add our texture. I'm not going to add texture to every layer. I find that sometimes when I leave certain elements flat, it adds an additional layer of dimensions. So I'm going to head start now and texture to the bottom. But I want to keep the color of the same. I just want to add texture on top soil, duplicated first and with it selected ground my filled hole and just drag up. Now I have ingredient, but it's not the type of fill that I want. I want to select bitten up, and I want to choose a lighter texture file. I like how this looks, but it's not quite the look we're going for. Just drag it out a little bit to give myself all over more than graininess, and I'm going to change the blend mode of the overall group. So go ahead in and when to tap through. I already knew. And when, like soft lights, I'm just going to go ahead up to that, and you could try different ones if you want to tap through. Hardly, it is nice, but it's a little bit too much. So knock it back a little bit with some soft lights. We still have that color, but there's some nice texture in there as well. So I'm done with that one and pointing ahead and de select it and let's move on to the next crew. I'm going to leave this one flat, and I'm going to go up to the next one in the lineup again. I'll go ahead and duplicate it, and I'm going to grab my fill tool and swipe across. Its added the Grady in, and I'm going to changes to bit map and I want to choose a little bit darker on this time, but not too dark. I'll go ahead with this and again, not quite the look on going for I do like it and you can get some really interesting results just leaving it as is, but we're going to go ahead and change the blend mode. You could also get some interesting results. Just using the blend boats themselves and add a little bit of color or something like that . Okay, I think we're probably going to end up somewhere in linear burn or darker color. I like darker color was going to knock it back a little bit. Give me try Linear burn here. Okay, We're gonna do that one instead. So I like how we have the texture, but it's a little bit darker. So again, we're giving it a little bit more dimension. Now I want to choose this last group and again duplicate it, and with it selected, I'll just drive your cross and I'm going to select bit map. And I want to go even darker with the texture. Because I really want that middle section to stand out. Anil's got and drag up. And then just change the blend note until I get something I like. And I actually like that brown I like help, please into the neutrals of the rest of it. So I like how the overall flowers look. The only thing I might do at the end here is add some texture, and I'm going to go into my pixel persona and grand my my paint brush tool. Grab a nice Grady brush and off white color. Think, and I'm just going to start adding some texture around the edges here and again. It's not clip, so it's ending up on the outside as well. But that's OK, and I want to leave the center a little bit darker. I'll go back in and I'll grab that pixel and I'll clip it to the lips. Now I'm I just change the blend mode just to see some of the options, and we'll probably end up again in the soft later, hard by area. He likes I like hardly, but I'll just drop it down a little bit. So there's our overall chrysanthemum flower, where we've added texture to individual groups rather than individual layers. Let's take a look at one more flower, and finally, let's add some texture to this simple flower we created using the pencil tool because it is so simple. I don't have too much texture, but I do want to focus on the difference between light and dark of these two layers, as well as the fact that it's a curve. Flowers. I'm going to play into that. The first thing I'm going to do is place a texture image file on that top layer, and I wanted to pick something kind of light. So go ahead and dragged this off. And I wanted this dark part here to be the bottom of the flower. So I'm going clip it and then I'll change the blend mode. I'm going to choose Soft White because I knew that works best with this particular texture . Now the next thing I want to do here is to add a little bit more texture using a factor brush. Specifically, I want to use one of the acrylic brushes in the acrylic section of added to designer, So I'm going to go ahead and choose this glazing brush when I add texture with this really large. It just has a nice caught me feel. So I didn't swipe up hell, swipe of distraction, and I'll go ahead and group them together and clip it. And then once you start changing the blend mode of this, it blends in really nicely and adds a nice textural quality. I actually like overly here, but I'm going to drop you rapacity so I like. How about pulled in a little bit of that yellowish kind of feel from the off white color I used but kept that peachy pink behind. Add a texture. Mitchell announced the back, and I want to take a little bit of darker one, and I'm gonna go ahead and drag up now, clip itself to the wrong way over. That's okay. We're going to grab it and drag it down, and I'll go ahead once again, change the blend mode. I like soft light in this case, so now the difference is subtle, but it's still there, so you still have the impression that it's a closed flower. I'm going to go ahead. Not a little bit of texture to the middle section here again using the place image. And I want something in the brown family with some grittiness because it's kind of dull and flat. So what do I didn't pick this one. No score head and swipe up. I like this section here in particular, and I'm just going to change the blend mode again. Teoh, Heather overlay or softly think I like overly the best. Okay, then one final thing that I want to do is just add a little bit of light to the side. Here, I'm going to grab the paint brush tool again. I have my off white color selected, and I'm going to go and grab this thing's gritty brush, and I want to go ahead and start adding some light texture to the very side here and a little bit of the top. Now it's already clip itself because I selected this layer to begin with. But I do want to change the blend mode to screen, and that'll allow anomaly. The texture come through with the lightness will stay as well, and I just want to add a little bit of dirt. Teoh here. I'm going to choose this dark paint color now because this was a screen blend mode, and I actually want to use a different one mode here and even add a pixel layer so I'll go ahead and hit this plus sign, and it added the pixel A and I have been to start adding my texture here again. I don't want to do too much, just a little bit. We'll change the blend mode to multiply and drop the opacity. Okay, Like how this flower is looking in the next section. We're going to go ahead and take a look at the assets section, and I'll show you not only how you can save your own objects to use in the existing document urine, but for the future, but also introduce you to this nature elements download that I provided you with and show you how to use the elements to create your own floral arrangements. So I'll see you there. 19. The Assets Studio : One of my favorite things about designer is the asset studio. It allows me to see objects I create, whether they're single air objects are made up of multiple layers for use in future documents. I use this a lot when I'm creating surface patterns, or I'm creating an illustration where I just need a little bit of Phil and don't want to start from scratch, creating a whole new flower. If I see a single layer objects Aiken stack multiple assets on top of one another to create a new design. If I save multiple air objects like this one, it will have started exactly how they saved it. Layers in all, so I can go in to make at it if I want. Let's take a look at the assets studio. It's broken down into categories and sub categories, and you will always need at least one subcategory to begin adding assets. So in this case I have a category set up from a flower shapes, and it's broken down into multiple sub categories. So I have this flower that I created, and I love it and how it looks. So I want to keep it for future use. The first thing I want to do is make sure that all of the elements that make up this flower group together you can save as individual layers, but it's going to save. It is individual elements in your assets studio. So if you want to save it as it is, make sure that you group those layers first. No, I made sure this is grouped together, and I'm going to go ahead and select it, although into my assets studio, and I'm going to select which subcategory wanted it. So I'm going to place it in this flower heads, and I'll tap on the menu for this subcategory and then select ADC Asset from Selection. Now its added to my in group here. And if I believe this one, if I want to add it back in Aiken, simply tap hit insert, and it's placed into my document again and again. It's broken down into the original layers that I created it with. Let's take a look at how you create your own asset categories to save two. First thing you want to do is go to the hamburger menu at the top of the assets studio and select add category. You can rename this by going back into that same menu, selecting rename category, and I'll go ahead and Amos Skill share class and again, you're always going to need at least one subcategory before you can begin adding to this particular category. So go back into that same menu tap, add subcategory, and I'll go into the menu for that subcategory to rename it. Notice changes to florals. Okay, I'm all set to start adding so once again, I would go ahead and I would select my object. I'll go into the menu for the subcategory. Want to add to and then tap had asset to subcategory. If you need to delete a category, you go into that top menu and again you go ahead and delete it. You also can import from here as well as export from here. As part of the downloads for this class, I prevented in Nature Elements Assets Pack, which is a group of single layer floor on leave shapes that you've been used to create your own designs. Let's take a look at how these work. I'm going to recreate the flower shape that we started with, so I'm going to go ahead and I'm going to select a flower shape and tap insert when you first go ahead and turn this one off. Put into my assets studio. I want to select this shape here till tap on it hit, insert. And now it's in my document and again starts out as a single layer with no color. But you can go ahead and add color to it. So I'm gonna select this darker Phil, Since I know this is going to be my bottom pedal and I'm going to go back to my assets studio and add a second of that same one, you could also just duplicate the 1st 1 in place. It's really up to you when you go ahead and add a lighter color to this second layer, and I want to make it smaller and rotate it slightly. I always go ahead, center these, and I'm ready to add my texture. So go ahead and grab a texture image file. I'm gonna pick some nice light ones. I'll drag across, and I'm going to put this to the first layer, change my blend mode too soft light, and I just dropped your past me slightly. Now I'm going to go back in and select another one for my bottom layer. I'm gonna choose a slightly darker one. Remember to drag large, you can always size down, but you want to make sure that you start out of the larger size. Although I haven't quit this to my bottom and change that too softly. Okay, I'm all set with my texture on the two pedals. If you wanted to, you could go further and add lines to the petals. It's up to you. I'm going to go ahead and at my middle section and there's three flower medals here. And when you start with this solid one, it's created using one of the brushes from the texture of flour brush pack that I provided as a download. You can change it to whichever one you want in the pack. First, I'm going to go ahead and change the color of my fill on my stroke. But go ahead, make that black and I think I'm going to choose this coffee beans demon. I'll make this a little bit smaller and move it to the middle, and I'll just increase the stroke size just to make the statement a little bit larger. Now, I can go in and I can add texture to this, I think, But I'm going to do is all at another one of these flower medals just to add to the middle section here. So I'm gonna select this one and hit insert. I'm going to keep the brush that selected for this particular stroke. But I'm gonna go ahead and change the colors again, and I'm just going to make this a little bit smaller. I'm also going to change the theologian mint of the stroke so that it's in the center. And that's how you can take single layers from an asset studio and build them up, add texture and color to them to create a whole new design in the next section, we're going to put everything together and create a beautiful textured bouquet using everything that we learn in the class. So I'll see you there 20. Putting it All Together: in this final section, we're going to take some of the flowers and leaves that we've created and put them together in a textured floral bouquet. Now it's up to you how you want to place them together. You can make a tradition of the K that's just tied together, or you can place them in a bowl or cup. Or, if you want, you could even make a flat late. Okay, it's totally up to you. I think I'm going to make a nice little cup to put them in, so I'll start with my pen tool. Answer my pencil tool and I'll go ahead and select this red color. I think I'll make sure my fill is on and my stroke is off and I'm just going to go ahead and drop out lovable, and I like to make it slightly imperfecta. Ziff. It's pottery going to go ahead and add some texture to this first, and I'll clip that and change the blend mode. I'll stick with overly there, and I want to add a little bit more to this, so I'm going to go back to my pencil tool. I'm going to turn off both my fill and my stroke, and I'm going to go ahead and just try to draw a little circle swirl formation here. And I'm going to go into my brushes and specifically into the in grading brushes that are built in to designer. And I want to select one of my engraving brushes and make it rather large, and I like how it gives it that nice little engraved pottery feel. Let's go back in, and I want to make sure that this is clipped to this curves and nothing's any outside. We'll change the blend mode, choose soft lanes, got capacity slightly, and this is something where you can play around with the color and the different blend modes and you'll get different feels like how this one looks. So I'll go ahead and call that done and where they go ahead and start adding my flowers Now , actually, the first thing I'm going to do is add some leaves to the pot, so I'm gonna go ahead and insert one of the leaves that I saved and I want this behind the pot and I actually went to of them. So go ahead and flip this and they add more later. But I'm gonna just start with you for now. I'll go ahead and group thes and drop them below the pot and accidentally clipped it there . Which is finding it is to finger tap to undo and I'll read Drag. Okay, so now everything is behind the pot. I'm going to go ahead and start placing flower heads. I usually do my stems after the fact. Once I place the flowers where I want TEM. So I'm going to go in and I'm going to grab those true poppy flowers that we had need to drag us up to the top, though, and I was going to make them smaller. Well, this one up here and this one, I'm going to make a little bit smaller and rotate it and place it over here. And I don't try and be perfect about this because really, it looks more natural when you just place things and you can always move them around. I'm going to go ahead and take a look at my assets studio at a couple of the flowers. From there. I like this little stamen flower that we created No, go ahead and write smaller ago and I actually went a couple of them in various spots, and I want them to have different orientations. I think I'll drag one over here, too. And I think we need some white flowers. So go ahead and add this one as well. And you can vary the sizes, maybe even vary the shapes. If you want to drag in a little bit because not all flowers are perfectly round and I just like Teoh, give it a little variety and maybe we'll just go ahead and add one more hair. Bananas, Yellow flower just dropped the size a little bit And put this one up here and I want to lay it on top of the poppy. If you wanted to talk things behind other things, you could just drag the layer. So if I wanted this behind the Poppy, you can do that. I actually want that above. And I think I'm gonna move the poppy flower over just slightly. Okay, I think I'm going to stick with this for now. I'm going to start adding some stems just to fill this in, so I'll go into my pen tool, and I'm going to make sure I d select. So that might change the color. I don't accidentally change the color of the flower, and I'm going to make that green my stroke. And I'm just gonna go ahead and then went attack, tap down and drag. Now this is much larger than we need Selves. Go ahead and change the size. I'm also going to talk it behind. Be the head of the flower and I also want to make sure it's behind the stem. I'm sorry, the bowl, and I'm going to use the stroke studio to make some changes to it, so it's not so perfect. I might even make this a different color just to make it a little bit different from the plant. The lead formations, they're just make a little bit later, and I'm just going to go ahead and I'm going to keep adding stems to this. I can also use the ones that are in my major elements, assets packed. I just want to go ahead and add this change the color, and I can add texture to that if I want, so I just go ahead and fill this in and then we'll start moving things around just to get them in the perfect spot. Okay, I like how my flowers replaced. I'm actually not going to add any more. I added some additional leaves, and I left from flat. Sometimes I like to have a little pop of color without texture and something that you wouldn't necessarily expect just to add as a filler. The last thing I'm going to do is add a texture to my background and then at a unifying culture across the entire thing. So I'm going to go ahead in and when you slept, a image file for my black background. And when it comes to the platform, they like to use a black and white type texture. And I accidentally hit one there while I was talking. Let's start that again, and I like it to be kind of a screen ish and boast like when it comes to black and you'll see why in a second someone who wouldn't drag that up and I'll place it and I want to drag that down. So that's on top of my black rectangle there, and I like how this gives it a little bit of lights almost coming from the one aside and I'll just tap through until I find the blood. Know what I like typically end up towards glow because it just gives a little bit of subtle late there. So that's good for my background. I'm going to go ahead and I'm going. Teoh lay a unifying texture on the top now, so I'll go back, and in this case I don't want one of my black and white ones. I'm going to choose a lighter colored one that I have. It's his antique white, and I'll just go ahead and rotate this. It doesn't really matter if it's perfect. I really just want the texture. And again I want please at large first and then size down, and I'll just place it so that it's got that nice amount right there. And now I want to change the blood motives. I don't want to move it down. I want it on top of everything because I wanted to add a little bit of texture to everything, and I'll go ahead and change my blend mode again, and I wanted to ultimately be subtle, so end up dropping the capacity, but I want to start high and then work my way down and usually add or lighter color. It's a nice one. I'm going to drop the opacity there. Okay, so against this, a little bit of subtle texture here, as well as what's coming up from the bottom and it's over the entire thing. So it unifies everything. It's up to you whether you want to add that. That seems to be one of my finishing touches. But I'm gonna go ahead and call this done. Thank you so much for being a part of this class. I hope you're going to use the methods you learn here to go on to create many beautiful illustrations. My biggest piece of advice when creating these botanicals is toe. Have fun with, um, The flowers are all yours to create so you can use abstract shades, fun colors or go for complete realism. It's totally up to you. If you have any questions about the class or about designer in general, please feel free to reach out to me either on the class discussion board or with the contact and going the resource guide. And please feel free to share your creations on the class Project board. As I'd love to see what you've created