Vera Neumann Inspired Design Using Photoshop Brushes - Natural Mixed Media Painted Artwork Scarf | Delores Naskrent | Skillshare

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Vera Neumann Inspired Design Using Photoshop Brushes - Natural Mixed Media Painted Artwork Scarf

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 19m)
    • 1. Introduction Vera Neumann Inspired Scarves

    • 2. Vera Neumann Throughout History

    • 3. Inspiration and Planning

    • 4. Finalizing the Sketch and Color Schemes

    • 5. Starting the Initial Motif Outlines

    • 6. Color Fills and Building Up the Design

    • 7. Composition and Design Strategies

    • 8. Merging Layers and Finishing Touches

    • 9. Border and Final Touchups for Mockup

    • 10. Wrap Up and Next Steps

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About This Class

Although Vera Neumann is known for her iconic scarves that became hugely popular in the 60s , Vera got her start by creating housewares. Growing up, Vera was encouraged to be artistic. Her father would pay her fifty cents to fill a sketchbook! She was initially thrilled to get a job straight out of school but was shocked to learn she was expected to directly copy other designers’ work. That was against everything she believed in, and Vera promptly quit.  She started working as a freelance designer for children’s fabrics and murals and then met her future husband, George Neumann. George’s family was in the textile design industry and was very impressed with Vera’s ambitions. He was instrumental in her success, and they started humbly with a small silkscreen operation in a tiny New York apartment. At that time, their first product was linen placemats!

During World War II, she had difficulty finding linen but discovered she could buy parachute silk at her local army supply store. The well-known Vera logo of a ladybug made its entrance as part of the process of silk-screening her paintings onto the scarves. The scarves were an instant success and by the 1970s, Vera’s kitchen table business had grown to a $100 million international business.

Vera is deeply respect as a talented designer, but also as one on the leading edge art licensing. She had become so successful that by 1972, her designs were sold in 20,000 stores around the world on everything from clothing to housewares. Vera was arguably the first true lifestyle brand. Her work continues to be licensed and was recently used by Anthropologie.

There's another reason Neumann's portfolio is so extensive; she consciously wanted her work to have mass market appeal. One of her famous quotes was: 'I don’t believe only the wealthy deserve good design'. It helped make her commercially successful and make her brand easily recognized. And she didn’t just stick to one ‘signature style’. She experimented with plenty of different looks and a varied subject matter. She was "comfortable" identifying as an artist, designer, and businesswoman.

I have tried to fill this course with encouragement to try new things, to experiment and to embrace the whole idea of “process”. Design development is such an important part of the process. It can be a step that is easily missed, but it can really make the difference between a successful and unsuccessful design. Learning how to pull off the design development stage is how you'll start developing all of your ideas that potentially lead you to style that is sustainable in the long run.

My hope is that after seeing my workflow and explanations, you can better grasp how to plan the art pieces you will be creating for creating scarves and other accessories. Are you prepared to create artwork and paintings that will be licensed consistently or will become best sellers in your stores? That’s completely viable once you’re able to produce artwork as outlined in this class. Developing a style is key! It has worked for me, so why not you? This is a relevant course for you to take no matter what your purpose for the artwork you create. Let’s dig in, so you can be benefitting from your knowledge now in your art practice!

Intro to Vera Neumann Inspired Design Using Photoshop Brushes

This short intro will give you an overview of the class and I will explain why Vera Neumann has been such an inspiration to me.

Lesson 1: Vera Neumann Throughout History

In this overview lesson, I will show many examples of Vera Neumann’s work over the years and tell you more about her prolific career. This will give you context and background on our project. I will explain what we will be doing in the upcoming lessons.

Lesson 2: Inspiration and Planning

Again we will be inspired by Vera, and I will begin the process of planning the composition of the artwork. I show you some of my art journal/sketchbook art and explain the look I am after.

Lesson 3: Finalizing the Sketch and Color Schemes

In this lesson, we will look at some finishing touches on our pencil sketch. I will also introduce you to to aid in the creation of a couple of usable color schemes. In Photoshop, we will load those swatches using the Adobe Color Themes extension.

Lesson 4: Starting Initial Motif Outlines

Within this lesson, we will look at brush settings that help us emulate the textural look of the natural media brushes and markers from my initial inspiration piece. I will continue to share any other wisdom I can muster up! We will also continue to talk about the planning process.

Lesson 5: Color Fills and Building Up the Design

Building the composition is easy with the use of the techniques I will show you using different brushes. During this lesson we look at the brush controls and I will refer back to my art journal piece so you can see what we are emulating.

Lesson 6: Composition and Design Strategies

In this lesson, we will complete the design. I will speak to the use of layers to help keep things organized, and I will share many insights along the way.

Lesson 7: Merging Layers and Finishing Touches

In this lesson we will merge all the layers together and continue to touch up and perfect our final leaves and florals. Several techniques are discussed for making everything blend nicely together.

Lesson 8: Border and Final Adjustments for Mockup

Here we will experiment with the border design. I will give you several actionable ideas and we will work with layer blending modes as well. Towards the end of the lesson, we will experiment with placing our finished art on a couple of mockups. This is the fun part!

Lesson 9: Wrap Up, Wisdom and Next Steps

This video is the conclusion and wrap up of my instructional tutorial on how to produce a Vera Neuman inspired scarf. Hope you enjoyed the class! Please leave comments in the discussions area and please post your finished art here!

Concepts covered:

Concepts covered include but are not limited to hand-painted scarves, consumer licensed art, trends transcending time, influence and inspiration of other artists, Vera Neumann,  licensing pioneer, history of Vera Neumann, Perry Ellis, Alexander Calder, color trends, style trends, the importance of color, mockups, marketing your art, sketching in Photoshop, color schemes,, Adobe Color Themes extension, Photoshop brushes, Photoshop Layers, Photoshop layer effects, adjusting brushes in Photoshop, Kyle Webster brushes, brush settings, textural brushes in Photoshop, Photoshop mixed media, cross licensing, cheerful every day art, accessible art, Photoshop texture, Photoshop layer masks and vector masks, using natural media for collage, quick masks, Photoshop blending modes.

You will get the bonus of…

  • around an hour and 10 minutes of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • handouts explaining key concepts
  • a list of helpful online sites to further your education

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer


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

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

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1. Introduction Vera Neumann Inspired Scarves: Hi guys, welcome. My name is Dolores nascar into them coming to you from sunny, Manitoba, Canada. So today I wanted to share with you an artist who has been a tremendous influence on me. Her name is veer in Newman. Her art has been around since the 19 forties, believe it or not. It's really interesting how she got her start in the industry. She was one of the pioneers of art licensing or work has been seen on everything from fashion to housewares, all kinds of sundry items, everything that you can imagine on cover most of this in my first lesson, where there'll be a total history of beer and Newman. Her mission in life was to have art be completely affordable and accessible. She even gave artists Perry ALS has start. I know can you believe it? One of her best friends was Alexander Calder. If you take the time to really look at her work, you will see the kind of work that she's done over the years has ranged from Florida ols two geometrics to landscapes, all kinds of scenic stuff. Just really cheerful art for the everyday products that we have in our homes. Her artwork continues to be licensed to this day. That is such an inspiration to those of us who are into art licensing. And what I really liked about it was that she did a whole range of work. She wasn't specifically tied to one particular style. She really liked to experiment. And I know that's the kind of thing that I want to do myself. I'm always trying different things as you know, if you've been in my classes. So I thought because she got her start doing scarves that I would do a class on designing a hand painted silk scarf. The only difference is we're gonna do it digitally. I'm really going to try to capture that hand painted look though. And we're gonna take the inspiration from my sketchbooks. So we'll be working on a piece from start to finish. Will be working exclusively in Photoshop this time, my last class on silk scarves was all done in Illustrator. So this'll give you the best of both worlds. So during the course of this class, you're going to learn a lot about Photoshop brushes and all kinds of other techniques that I use when I'm doing this kind of work. Are you ready to get started? All right. Let's get to it. 2. Vera Neumann Throughout History: Hi guys, welcome to lesson one. So unless one here I want to cover sort of the history of Viera Newman. I wanted to see the kind of worth that she produced and the kind of products that her artwork was featured on. Let's get started. I want to tell you a little bit more about Viera Newman and why she's been such an inspiration to me over the years. She was at heart an entrepreneur. She actually started her business right out of her apartment in the 19 forties. She had started out making linen placemats. At the time during the war, there was a real shortage of linen. So she went to local army, navy and bought parachutes, silk. There was tons of parachute silk around for some reason. And she used the silk to create her first scarves. It didn't take long before her business really took off. She and her husband, who worked together, move from the apartment and into old mansion and converted it into a studio and factory. Everything took place in that mentioned. So can you imagine that space? She would start with just a 36 inch square and make the initial scarf from that painting, whatever painting she had put onto the scar, she would make scarves and tea towels and placemats, aprons, all kinds of different things. In the sixties, she also added a clothing line. She would often redo the fabric print so that it would really work on the particular garment. So she would produce specifically placed artworks, as you can see in this illustration here. So the artwork would be done on the cut pieces so that they would work perfectly. And the shirts, as you can see with his shirt here, would have a print that wasn't a repeat pattern necessarily, but just a really large placement print. Now she was one of the first artists to license her work. So I thought that was really interesting too, because the licensing program still includes licensees producing scarves and betting and pillows, blankets, you all the things that you would expect to use surface pattern design, although she was mainly famous for producing the scars, her true goal was to bring joy and art to everyone and even the most small and humble accessory pieces. So she did lots of smaller pieces that she's also known for. Plenty of influential people who've also been fans of Viera. Marilyn Monroe pose with one of her scarves and one of her last photographed sessions for designs of graced homes all across the US and the world. Whether that was from the hanging in windows of the White House or just adorning a simple kitchen table in an everyday home. Her use of color was amazing and her sense of style was unparalleled. When I look in her work, I don't even think of it as retro. There literally is a vir print perfect to capture any desired mood. I loved her use of bold colors, and that was definitely one of the things she was famous for. The fact she's been quoted to say, color brings just a little bit of joy into all of our lives. The other thing that I deeply respect about Viera was how prolific she was. She was known to have produced 500 designs in a year. Can you imagine that? That's like two a day and how amazing. So it's not late. Rushing made her work less amazing and she was really versatile. She was known for bright floral, but also for Bowl geometrics, scenic motifs, and all kinds of other cheerful designs. She definitely built her iconic brand and hurt cross licensing empire by making her ART affordable and accessible to everyone to a wide range of products, not just for hanging on walls. So i applaud her for that. That's definitely one of my life's goals. And the amazing thing about her, she worked well into her eighties. So talk about it, inspiration. So in the next lesson, what I want to do is just give you a look at the work that I planned on producing here in Photoshop. I started with a little bit of exploration, I guess you'd say. I'm going to show you the process that I went through when I was trying to decide what my approach would be to this project. And then at the end, I'm just going to give you kind of a quick overview of what exactly will be doing in the following lessons. All right, okay, so I'll see you in the next lesson. 3. Inspiration and Planning: Hi guys, welcome to lesson two. And less than two here we're going to be talking about my inspiration for this piece. I'm going to be showing you some of the work in my sketchbooks. And then we're going to work on a pencil sketch to get us going. Let's get started. So processes kind of really individual thing for artists. I was super inspired by seeing Viera just going for it and just painting her scarves. I wanted to really do a hand painted lock. So I started looking through some of my own sort of old work. And I came across this particular artwork and I thought I really wanted to kind of do flowers like this that are really bold and simple. This is art that I did in a journal. You can see that there's a ton of layers here. There's some collage you can see just kinda the edges of a piece that was stuck there in the background. Looks like I did this one in an old school book of some sort. I can see some text peeking through there. I really liked the way I had taken and made many different lines. So the block was probably the initial outline. And then I went in and added some of these other colors, lime green, the kind of gold color than the blue. Some of it was painted on. You can see it's very roughly very brushy here. And I think I've talked about it in quite a few of my other classes, but I've got just a huge archive of all artwork. I haven't even begun to scan all of my journals or sketchbooks. Just every once in a while, I'll go and I'll scan a handful of pages. I've got kind of an archive of scans here that I'll go to. Something I really need to get organized as my scans of the kind of stuff that I've got scanned and just kind of in reserve waiting to be used for a project like this. So I opened that one scan. I did a little bit of play with it where I reflected, I put the art in one corner and reflecting it that I did a little bit of touch up on the seems likely peace at another flower into the middle area there. And then I just opened up our scarf mockup that I have and pasted it in just to take a look at it and just kind of get the feel for what sort of hand painted look I was after. So that I sat on that idea for a day or two, just kind of thinking about it. And yesterday did a quick experiment. And really, I'm almost embarrassed to show you this because it looks so crazy here in the middle, but I just painted a flower here, added some leaves. I've got kind of the idea of a layout that I want to put a, do a really nice sort of leaf illustration in the middle here. I've got the flower in here. I experimented a little bit with the different brushes. So I'm going to be using Kyle's guage brushes. His brushes here have a really great variety and I think they're going to give me the look that I want. And it's the kind of paint that I'm really used to using so I can have a good idea of how it's going to lay down and how it will look in my final illustration, washes something that I learned to use when I was in trade school. So. Learning that full variety of what I could do with the brushes is gonna help me a lot in this project. So I've got, like I said, just some quick brush strokes that I laid down here. I experimented a little bit with the look that I'm trying to achieve. I went through on Kyle's Guangxi brushes here and just did a quick run-through of some of the different ones to see how they would work for the look that I'm after. And I think I'm pretty comfortable to start working on this project. Now in the background here, what you see is a scan again of another journal, art Paige and I just took a section of it that I really liked and did a little bit of work on it. I think I've removed this thick line here. I didn't use this area in here at all. And I figure it's gonna make a pretty nice backdrop for my scarf. So I'm not sure exactly how I'm going to use it yet, but we'll see as the whole project comes together. So my next step is to go and produce really quick sketch to use as a guide. I started doing this off camera, but then I decided that I would actually show you this part of the process as well because I think it's important for you to know this, just a couple of little techniques here. So I'm going to just select this part of my design, which I think I can add this border, oops, change that to 0 because I think that this part, I want to have the same on all four corners, so I'm gonna copy it and paste it, and then I'm going to reflect it. And this is a time when I really miss Adobe textile designer. So I sure hope that that ends up coming out soon. I have tried my extension a couple times and it no longer works. So I'm hoping that there still onboard with creating that extension for those of us who became so accustomed to use again, okay, so I've got my duplicate here, and I want to go up here to the control bar and type in minus 100. And that's, give me this bottom corner. So let's just kind of a line that roughly the main reason I'm doing this so that I can kind of get a better idea of what I wanna do here in the central area. So I will just collapse those two together. Commodity will cook, will collapse them, and then I'll duplicate that again. So command G for quick duplication, Command T to get my Transform controls. And again here I'm going to put minus 100, which gives me the flipper r2 that I need k. So that looks crazy, ridiculous right now because of all these leaves up got going on. So let me hide one of these layers for a second to take this part out of this half. And then I'll show that layer again. So now I get a better idea of what needs to be done here. So I think that I will also possibly do these leaves individually here as well. So let me just get rid of that. Or even better, maybe what I'll do is I will make a new layer just of that leaf. So Comanche will do that or copy, delete and paste in place demand shift V. And this one I think I'm going to just kinda position so that it is a little bit different than this one here. And I think that I can do the same thing here. I'm going to cut this guy out. Men, Beck's mindshift the pieces in place. And let's just maybe we'll even flip this guy. And I just grab the central transform control there so you can see what's happening. What I'm doing is keeping these flowers the same. My painting will end up being just probably the flower on one layer and then the leaves on another layer by layer. The idea of having this central part a little bit asymmetrical. Where am I here? Okay, I'm going to collapse these two together again. And let me just erase some of this stuff I don't need. That's on this leaf here. I probably don't need really this central line anymore because I've now arrived at my conclusion about what I'm gonna do in this location here. So off-camera, I was going to fill that in a little bit more and then I'll come back to you in the next lesson and we'll get started with some of that painting. Alright, I'll see you there. 4. Finalizing the Sketch and Color Schemes: Hi guys, welcome to lesson three. So in less than three here we're going to finalize that sketch. We're also going to take a look at our color schemes. Let's get started. So I've got a few more of my leaves drawn here. And I just wanted to show you a couple of things that came up just to give you a few pointers here. I did do a lot of erasing to kinda helped me see which these would be in front and which ones would be behind. So you can see I didn't erase that. Great, so that you could see what was happening there. And I want to continue this line and this line here from these leaves. So back to my brush and I wanted to show you that I've got the smoothing up here set at about 27. You'll notice that the higher you set your smoothing is, the slower your brush is, but the smoother line is. So this one was in a great angle for me to draw. This one. I want to go this way. And so in order to get a nice smooth curve on that, I'm going to rotate my whole document so far on my keyboard gives me this little control. And now this is more comfortable angle for me. So first I'm going to just erase part of this line. Here are most of this line. Okay? All of this line. And now I've got space to put this whole stem in. So I'm bringing it down a little bit differently than the other ones, but back to our on my keyboard gives me the option to reset the view up here in the control bar. So at some point I'm going to flatten this together to make it easier. And I think I've got reasonably well figured out kind of a sketch here. Now this is something, if you feel more comfortable working on paper with pencil, go ahead and do it that way and then just take a picture, like photograph or scan your artwork to bring it in as a guide. Still not a 100% sure about this area here. I might make some changes there, but I'll do that off camera and hopefully come back with a decent sketch for us to use to go onto the next stages. So I think I've arrived at my, I guess what you'd call final sketch. I still haven't worked out the borders and things like that. I'm just gonna kinda let the universe guide me when I get to this point here in the middle and see what happens when I'm actually painting all of this stuff. Sometimes that's just the way it goes. You just figured out on the fly. So I just want to point out that I've been using just a regular guage brushes and you racer really could use any eraser. Kyle's natural edge is also very nice, is one here. And then brush wise, I've just been using one of his just regular pencils. I think I got that in here. Drawing box and I can't remember which penciled is one of these. Anyhow, I actually have a few of my favorites down here. And I'll probably do the same thing with the choices that I make. Actually, I've got quite a few washes in here that I like, so I'll probably start with those or work with some of those. But sometimes it's just easier to drag out the brushes that you want and create a new set. Maybe we can do that right now. Actually, I think I'm going to call this one favorite and Guassian brushes. And as I go along and use specific ones, I can drag them into this one's. So for example, if I wanted to grab this one, which is one of my favorites, I could just grab it. So I'm just holding down my mouse button or in my case, my stylus, dragging it down until I get to that folder and just dropping it in there. So I'm going to do that for a couple of these other ones as well. But our washes that I've used frequently and we'll start with that. So the next thing that I would do here would be to choose a color scheme. So I'll show you that step. So I'm going to show you how to extract a color theme really easily from an image. It's pretty quick to find color schemes this way. And you can just, you can look up scarf, so you can just look up color schemes. It's completely up to you. Which one? I like this one here. So let's just say this is a picture that I wanted to use to help me establish my color scheme. So I would right-click on it or control click on it, saved the image. Something that I will remember in two seconds when I go into the Adobe color. So here we go, Adobe Color. And I've talked about this in a few of my other classes, so I'm not sure I'm going to cover this in great detail. But suffice it to say that it is a great way to pick your colors. And over here you can see that this is going to save right into my Adobe Color libraries. So I would go to extract theme here, select file from my computer, and instantly it figures out a color scheme for me. I could change the color as by simply dragging these dots around and retry for blue here, because I'm thinking kind of complimentary or split complementary color scheme. Let me see if it's going to neutral color in there. And so what I would do then, once I've established this bit of a color scheme, I would save it. So here's where it's going to save it to. So that's my folder for color ideas for 2021. And I'm going to call this one the scarf color scheme one and hit save. So that's one. And then let's try this again. This time I'm going to use the background that I had that I'm considering. Okay, so I'm not necessarily a 100% sure that this is the color scheme that I'm going to be using or that this in fact as the image I'm going to be using in my background. But it's still a great way to just get started to have something to work with. So that's a pretty sort of scheme there. We will go a little bit duller, yellow. You can see how you can really work with us to create the colors that you want. And this is definitely a site worth exploring in greater detail. At some point, it was an excellent Adobe helped document here that you can take a look at to get more information. So I'll just leave that to you. I'll put this link in the course materials so that it's handy Fourier. I'll leave that up to you at this point because I've covered this in other classes, but definitely check it out. There is a lot to be learned here. I'm going to save this one, scarf color scheme two. And now when I go back to Photoshop, I can go into the libraries. Don't have that open. So here are my color schemes. Here's my library, color ideas 2021. And then here are my two color schemes for the scarf. So I should get organized here. I could easily make folders to how some of these things, as I'm going along, that's something I'll maybe do at some other point, not today. But the cool thing about this is now I can close these libraries and then I'm gonna go into my Adobe Color themes here. If you don't have that in your toolbar, just go and look at your extensions here. And Adobe Color Themes should be there right on top. So once you have that, then you've got your schemes here. And you can see I've got the two that I chose. And I can just click on the ellipsis and add it to the Swatches. So I'm going to add both sets here because I'm not sure what I'm gonna do. But now I'm pretty much ready to start painting, so I'll meet you in the next lesson. And that's where we're going to start that I'll see you there. 5. Starting the Initial Motif Outlines: Hi guys, welcome to lesson four. So less than four here we're going to work on that initial drawing. We're going to be going through some brush settings and I'm going to show you the use of the template. And we're going to talk about some color considerations. Let's get started. So I'm ready to start my painting and remember what I'm going to do is kind of a thickly painted line filled with color and then, you know, surrounded by other colors. I'm trying to build up that look that I showed you in that initial sort of journal art that I have. So I want to have sort of multiple lines around each of the flowers. So I'm going to just dig in and get started. So I can actually eliminate this layer. We're not going to need this anymore. And I'm going to add a layer above my sketch exoplanet at it below because well do is changes right now to a blending mode that will allow me to see through to my painted layer as I'm painting. So I used darken for that. And you'll see that when I start painting, start with this blue. I think I'm going to do much lighter blue though. Moreover, Actually I'm going to go read nevermind. Let's try with the trend is one. Now the funny thing is, even though you've got this kind of scheme picked out here, you may not always want to work with the colors that you have. I'm going to actually probably most often work with my color picker here. A lake, this kinda color picker when I'm painting because I don't have to go in and change the color here or changed his watch here. I can just quickly pick the color that I want. So even though the scheme I have in mind is based on this, I may or may not be always using these exact swatches. So I'm going to start with this kind of a color here. And you can see that when I click on this and go back into my color, are taken basically to the spot where that color is. And I'm just going to brighten it a little bit. You could do that with your sliders or you can just move around in this triangle here. So let's go check out the brushes. So I put my favorite quash brushes in here and probably going to use this one. Now one of the things I don't like about the way the brushes are listed here is that the Kyle's paint box lettering interferes with you seeing the actual name of the brush. So I'm going to just double-click on the brush name and then I'm doing Command, Shift and delete to get rid of that information that I don't need for now. And I've tried to do this with the full set. And then next time I open up Photoshop, it's back to saying his name. So generally I'll just kind of work with the ones that I know that I'm going to be using and having my favorite set k. So now we can start our painting and you can see here that I'll still be able to see my line quite easily. And I'm on a completely different layers so I don't need to worry about turning it off later on. So I'm going to do a pretty opaque line. And I'm gonna do a pretty thick line because I know that I'm going to be cutting off a lot of that color and I am meeting both on the inside and the outside. So that's why I'm going this thick. Now I want to also increase the flow so it's a good, deep and rich color. I want it to be a 100% opaque. And I want to set the smoothing and property around 30. If you do too much, let's say you went to 80%, you'll find that your brush tends to lag or slowdown. And sometimes it's hard to then get the smaller details like in a year. So you can also see that with a thickness of brush that I've chosen some of these areas here, I'm going to have to go back with another color to it to get the inside or the fill of those. So I'm going to compensate for that. I'm making a little bit bigger and reduce this down biggest, slow. And then I can just start my painting. I think actually for the flower itself, I can go a little bit thinner and I'm just going to quickly brush this in. Now you can decide to whether you want to just do the one flower and then paste it into the different locations. So probably to make this class a little bit faster, that's what I'll do. But I probably wouldn't do at least two different ones. I wouldn't necessarily keep and use the same flower on all the four corners because that's personal preference. You can really decide for yourself whether you want to do that or not. Now, as you can see, this is a very stylized rows, so it's very simple. I have specifically kept it simple for the purposes of this class just to make our painting easier. And personally, I think that really bold patterns on scarves are really quite nice when it's hanging on you, on your neck or whatever, you don't necessarily see the full pattern. So the Boulder and is I think the better it looks, that's my opinion. So here would be a kind of decide about whether or not you are going to do the duplicate of the flower all the way around. And I think I will do that. And that's one of the reasons I kept it on. It's only or here. So what I would do is duplicate it and put it into these four corners. Now not going to do that until I haven't colored, knowing that I'm gonna do that, I'm now going to make a new layer and do my leaves on that layer. And this is nothing you could decide as well. You might want to separate some of the leaves. For example, you might want to do the leaves for each flower kind of separately so that you might be able to do adjustments if necessary. I'm not sure I'm gonna do that. I'm probably just going to go for it. Now that is a curve that is not right for me. So I'm going to do all the ones that curve in the direction that's comfortable for my arm. First. And then I'm going to start rotating my board. How do you like doing that kind of stuff like to you if you're working on paper, for example, do you rotate your paper to get the curves the most comfortable for you? Or have you trained your arms, wrists, and hands to work comfortably and create nice curves sort of against your normal flow like this one would be really difficult for me unless I set the smoothing really high or like, it's really unlikely that I'm going to get a good line there. And I guess it's not bad, but definitely some of these, I'm just going to rotate my board. And when you're painting this boldly, it's also, seems like it goes really nicely, really quickly. So that one is one where I definitely am not comfortable doing it in that way. So I'm gonna do are on my keyboard, rotate and then go back to painting. And you can see as I go along, I sometimes correct some of the curves that weren't exactly in the right place on my initial drawing. And don't worry about this kind of thing where the line ends up a lot thicker or something because we're going to be doing that painting within all of these shapes as well. That's going to correct a lot of our shapes. So this is an example, I guess, of what you can learn by creating using art journals just for fun and experimentation. Of course, my art journals are what helped me to develop this technique. So that original, this is something I would, sorry, I have a herd of cats in here. Apparently the all wanted to play at the same time. Okay. Once they saying yes. Ok. So this is the kind of thing I do therapeutically just to pass the time Sometimes when watching TV, when we're out camping, on a road trip, any of those kind of things. I have a little kit of tools that I take along with me. And of course, the easiest thing you can do in those circumstances is used markers can be our Filipino. They're ready and willing at anytime that particular tool lends itself well to creating these layered patterns. So the backgrounds on the pages, I may have done eons before that. But then when I am sitting down to just pass the time, that's when I'll do some of this experimentation. So I'm going to continue with these leaves and I'll do a little bit of that off camera to shorten this lesson a little bit. And I'll come back with everything done except for the duplication of the flowers and that we will do in the next lesson. So I will see you there. 6. Color Fills and Building Up the Design: Hi guys, welcome to lesson five. So in less than five here you're gonna see a time-lapse of me finishing up that first part of the illustration. And then we're going to start doing some of the fill in on the flowers are going to be adding those additional outlines. And we're gonna start working with our background a little bit more. So we'll do a lot of work with adjusting the brushes, right? Let's get started. Okay, so I've got my main drawing done here and the thing that we start working a little bit on my color. So I'm going to focus on this flower here for now because remember I want to duplicate that or the other corners. So I may temporarily hide my original sketch. That'll pick a really neat that at the moment. And I'm going to take a look at a couple of things here. I'm going to look at my journal art here and see kind of the colors that I did, unlike this blue that I did on the outside. So I think I'm gonna do that sort of idea. I've got that gold, chartreuse green. Those kinda give me some ideas. And I'm gonna go back to take a look at those color schemes. I think maybe I'm going to start some of the internal lines with this sort of a Goldie color. So I've selected that over here. Maybe I'll go a little bit lighter. And I'm going to kind of get a close-up here of my flower, enter that on my screen and reduce the size of my brush. Now I'm using the left and right bracket to do that. It's kinda the fastest way for me. You could do it on the fly by holding down Control and Option key, control and alt key. So you can do it like that and just kind of habitually use my bracket keys. So I guess it's just up to you. Now. Color, that was one of the ones I originally picked here with my color themes. And I've just lighten it up a little bit. And I think I'm going to go and you get smaller with app again, remember that you will be taking off some of the yellow color afterwards when you are doing the Yellen color, every time you're using these colors, you're cutting into the previous color a little bit. So I didn't I don't know if I told you, but I've been cohabitating with my daughter as our houses built. And not only does she have two cats and a dog, she's now rescued a kitten. So you may occasionally hear kidney noises in the background is very active and very curious. Yep, that's him climbing up my grapes right now. So you can see how much I've cut into that colour there. Now it's also possible that you can resample the color by Option clicking, and you can go back if you feel like you took too much off, that's something maybe we'll look at after, but for now I'm just going to go for it and do a time-lapse as I worked my way through adding this color through my roles. Now this little center bit, this is a spot where I might wanna go even a little bit smaller and there's a lot of different ways you can do it. You saw my original sketch. I just had kind of two little areas there. I've also seen it just with a bit of a swirl and we can work on that a little bit later as well. I also find that when I've got the smoothing set too high, I can't Pete fast enough, so I'm turning it down a little bit. So so far I like what I see. I have a few little touch ups I want to do here and there, but I speed up the process by using my Option key to choose the color that I want. When I want to smooth out a line, I make adjustments here. For example, here I will sample this color, make my brush a little bit bigger using the bracket key and then just go back in and smooth at edge. So I'm gonna do a bunch of that kind of work. Next, I'm going to be starting to put some of that blue. And I wanted to take a look at everything with my background. Whoops, you see this? I just realized that I had been painting the yellow and stuff on the leaf layer. So I'm just going to make a quick fix there. So I'm going to select this flower area clear with my last few. Make sure I haven't got any of the leaves here and go back to this layer and cut. So command x, and then in particular this slayer and Command Shift v, which is paste in place. Now that's above the layer here. And what I wanna do is just select both of them and merge them. So Command E will merge them. That could have been a disaster. If I had had all of the other stuff painted, it might have been a little bit harder to extricate back from that layer, but all is good. Before I start painting the blue, let's take a look at this background along with it. You kind of see now our multimedia piece really starting to come together. Again, I haven't really thought too much about the border yet, but I'm going to be doing, but I want to look at these colors because of the blue that I want to use. So of course, we do have the themes in here and my library, and that was the blue that I had originally taken a look at here. But I think I can also sample from within this background. Just Option clicking and grabbing a blue. I think I'm gonna go a little bit brighter, so I've got this blue, but I can move it to the outside edge here just to increase the saturation and the brightness. So if I was to paint that you'd see the difference in a minute. A little bit more to the teal that almost perfectly matches actually. But I think that's going to be good because that'll help us to tie into our background. And I'm gonna do the outside part of the flower now. I'm gonna hide that background again temporarily, but we'll do the first stroke of blue around here with the same brush, but I'm going to use a more textured brush to do this. Outside stroke that I have. You can see how that was just done with that really bristly brush. In fact, I probably did that first before doing this edge, this blue, because that blue is over-the-top, maybe I'll do that. So we'll start with the bristly brush first. And I know that I separated one and brought it into my favorite wash brushes here. So let's take a look at these two, this one and this round briefly, and just see what might work best for us here. So we've got the blue and she doesn't really nice wrestler there. You will enlarge in this area a little bit so you can see it a bit better. But that really gives that feeling of Bristol for sharers was tried. This one here, the, the round Presley. And that one works as well. So I want to get it to look more like this, like really brushy looking. So maybe we'll take a look at a couple of other brushes. Those were in the quash here. This one looks super bristly. Oh yeah. That one will be that will be great. So why don't we drag that one down as well. I'm going to grab it and just pull and put it into this. I'm actually going to put that here and bring this bristly brush up here as well. So I've got my three bristles together and I'll put this one down here. So these are the regular ones that I was using. And let's go with this 1 first and I'm gonna do an pretty thick outline because you can see, when I go back to this, you can see how wide that background outline kind of Y's. So that's the effect that I'm kind of after. So we can go quite a bit bigger. I'm going to try that control and option shortcuts and drag out a bigger brush. And I'm also going to do a little bit of adjusting here. Now what I did is I went into the File menu here and I cleared all of the brush controls because I want to start from scratch. So that's what the brush looks like before doing any of the things that I'm gonna do. So if we were to brush with it, that's what it looks like right now. Now I want to change the shape dynamics little bit and I've got it set here, depend pressure. I normally don't do too much of a change, especially when I'm first experimenting. So I'm going to set these at a low percentage, sorry, probably as good when I think I'm going to do it based on the direction that I'm painting. And now you can see already that there's quite a difference in the way that brush looks. Okay, so I'm trying to make it look less machine made if that makes sense. So I'm also going to change this to pen pressure. So what it's doing is changing the way the stamp, like if you can see here the actual stamp. So that's the original stamp that was used to create the brush. And what this does is it allows it to do things like change direction and be affected by pressure that I put down on it. And all these things will make it so that the brush is less obviously machine made. Hope that makes sense. So I'm actually gonna go vote to on that. This really is just a matter of experimentation. So you've got to decide how your brush looks. I mean, maybe you're happy with that original setting and that would be. Perfectly valid because I'm sure a lot of time went into the development of this particular brush. So sometimes I just accept it the way it is and other times I change it. So let's try this. No, actually changed. So that the harder I press, the thicker the line will be, doesn't make too much of a difference. And also point to experiment with the scatter. So what that does, you can see down here the effect that it'll have. But what that does is it reduces the obvious edge. If that's something that you want, I think I'm actually gonna not changed that. And I think most of these other things I'm going to leave as is to this. So pretty much what I'm doing is just experimenting with the sliders and putting down a line until I find something that I like. Any point you can go to resets and it'll take you right back to the original if you wanted to start again, I'm going to just delete all of this stuff here and just to really minor changes here. Okay, so I think that's my final settings for this fresh. So we'll take all these lines off and I'm ready to start my painting. So I'll do this in a bit of a timelapse right now. I'm just focusing on the flower. And I'm not too worried about this little edge bit because remember, I am going to go back in with a more solid blue over top of that. After I'm done, before I start though, I'm going to just check out that other one. Fix is going to be the one. So the other thing you can affect, of course, is your flow here. And that will also dictate how much of the page you're actually picking up and laying down, as you can see here, right? So one of the things you can do if you want to avoid this accidentally happening, see how I'm going to be cutting into that a little bit. If I make a mistake, I can actually select this area. And when I'm painting, I won't accidentally paint into that flower. So that's kind of a nice little trick. And now that I'm seeing this color here, I think I'm going to actually lighten it up a little bit. And yes, you can see that there is a gap there. Remember, we're going to be painting that other blue on there. So it doesn't matter in this case, we don't have to be so perfect with our mask. I am going to use my last few though and just take a little bit of this part of it off and a little bit brighter. And I'll just do that quick painting that's not going to take me very long at all, can be good and rough. First, remember the emulating the look of a very crappy brush here. So that's basically the process I would go through. I can de-select now and then I can go back to my other brush, whichever one I choose. And, you know, it might not be bad to do a different bristle than what we did for that original red. So we could take a look at this brush and maybe play with the color dynamics. So if we were to choose a different blue here, let's choose that blew that we've been using. So I option clicked over here. And then I want to go just a little bit later and maybe a little bit bluer. And now when we go into the color dynamics, we can have it grab both of those colors at times I'm, it's really subtle because I didn't do a real range. You know, the blue here is not that different. Let me just do this for a second so you can see it. And I'll increase the jitter. And you see depending on how hard I press, I'm able to get kind of a range with my blue. So that's kinda neat too. That is another way to get a really natural look. So I'm going to time lapses part. I'm going to set smoothing a little bit higher and I'm going to brush that new edge in there. Boy, I just realize how long this lesson is getting. So I'm going to do this work off camera and I will come back to you in the next lesson with most of that gun, and we'll talk about the next steps. Alright, so I will see you there. 7. Composition and Design Strategies: Hi guys, welcome to less than six. So in less than six here we're going to be really finalizing everything. And then you're going to see me pinching out by duplicating the flowers and positioning them. Let's get started. So in this lesson, I'm basically going to be running my time-lapse of the peaking of the lines and so forth. And anything interesting comes up. I will stop and give you details. So I've got my brush set at a pretty high opacity so that it does cover where I paint. You see me going over some lines here and there as I work on protecting my edges. Now I'm still trying to keep the overall look of a hand-drawn piece or a hand painted piece. So I'm not trying to perfect it too much. So I'm not overdoing it with the detail. You know, I could be doing this in Illustrator if I wanted really tree edges. But what I was trying to do is mimic my original that I had in my sketchbooks. So I wanted this to be as hand done looking as possible. Keeping in mind Viera Neumann Style, where she literally painted directly onto the scarves that she was creating. I think it's really interesting to note that she started from such a, such an organic place and then eventually had to figure out ways to mass-produce her work. Even though in the end the pieces were printed in mass quantities, they still somehow maintain that really hand done looking technique that she had perfected. As you can see, I also change direction whenever I feel like I need a better angle for drawing. Whenever you see that little flash on the screen is generally because I am sampling the color. So that's that circle that comes out. And I find that that's the fastest way. I don't need to go back to the palette at all. When I'm doing this, I can just sample the color from an adjacent area. I've gone in fairly large here, so I've enlarged it to what, a hundred and fifty hundred and sixty percent. And I'm doing some of these little edges and corners. I'm also using the eraser here. This allows me to clear out any areas that I want to have the background showing through. And you can see my technique here for touching up any of the points is two over paint or to go beyond my edges and then come back with whatever color is adjacent. Whenever I feel like it's an uncomfortable angle, of course, I hit on my keyboard and that allows me to rotate it to a better angle. Slowly I'm getting there and I did find that the longer I worked, the steady or my hand became, I think when I first started doing this, especially when I'm demonstrating, I'm just a little bit nervous. And if I'm talking as I am trying to display what I'm doing, my hand is definitely not a steady. Now, I've time-lapse this down for you from about 25 minutes to nine minutes. I don't know if you can gauge from that how quickly I'm actually painting, but there's no rush. I feel like if I was to do ten of these that by the time I got to that tenth one, I would be a lot faster and more accurate with my painting. Now I currently use way com into OS tablets and a stylus. So I'm not painting directly onto my screen. I'm definitely toying with the idea of grabbing myself a new iPad, so we'll see if that happens or not. Now here I notice that my blue was quite a bit darker than the original, so I made some changes there to lighten it up. These are also things I could wait and do at the very end if I wanted to. Again, it really is kind of capturing the essence of what I do in my sketchbooks, which has very organic. So I feel like I'm really in the home stretch now can do some of this fine touch up. So like I said, I paint beyond the edges sometimes and then go in and just take the alternate color to sharpen up the edges a little bit more. Now I could definitely spent a lot of time retouching, but I am still really wanting to capture that casual feeling of a hand P2P piece. Now, all of this painting I have done directly on to that leaves layer. When I go to do the lighter blue, really briefly brush in the background, I will be switching to an alternate layer. I just feel like this will give me a little bit more control. So here is my new layer nine painting behind everything. So this one is really fast. It definitely would be a technique that I would consider doing for the rest of the piece just because of how quick it is, maybe my next attempt will be done a little bit differently than this. So I'm ready now to Reflector. Repeat whichever way I am going to do it. My flowers here, so I'm going to duplicate the layer command. J will do that for me. Slide this one over here. This one, I'm just going to rotate, I think. Make it a little bit different. And point to duplicate this wine by option, command and shift dragging. So that's just an alternate way. And this one I think come into flips. So Command T And I'm just going to grab those handles to do the flip. And again, command, Command Option dragging. And I've kinda looking at this insight will swirl here to give me an idea of how I might want to bury the positioning of these. So now I've got four, and that's kind of what I want for my layout. Now I'm going to be doing some things like working on the stems and erasing some of this painted border that I don't want on there. So these are all things that I will do in the next lesson. And then we're going to take a look at it with the background and then talk a little bit ago doing the border. So I will see you in the next lesson. 8. Merging Layers and Finishing Touches: Hi guys, welcome to lesson seven. So we're almost there. Now. I really want to work on that background, really integrated everything together. And then we're gonna do a little bit of testing by using a mock-up or to, let's get started. Okay, so I've done a bit of touch up and stuff on this grouping of leaves here. One of the things I changed was how the overlap was happening on some of these leaves. This one here, for example, I had a double outline, like the gold and the bees in this spot here. And it didn't look right as well as right here. So I've eliminated that. So the leaf that is in the foreground stands out a bit more. I may actually go in and add the blue here along the size of this leaf like I've done here with this one, to make it really look like it's in the foreground, but I'm just going to leave out for now. The other thing I did was I went through and changed the middle part of each of these flowers. So they're all a little bit different. And in some cases, even added additional pedals on the outsides. So my intent was to have it look like they weren't absolutely identical. Now what I wanna do is go through and erase this overlapping bristly brush area. I can see that I've done that on this one here, and I liked the way that looks. It really integrates that flower with the leaves. So I'll be doing a little bit of that. And then the other thing I did was I experiments a little bit with some of the, what I am going to consider the background or the mixed media piece that goes in as the background for this floral. Although I have to say, I also really like this kind of just plain background. So you remember, I had this as my original mixed media background that we started the class off with. And it kinda gives the direction for a lot of the choices that we've made like these blue bristle brush outlines and just some of the color and stuff. And I reduced it down at about this point because I'm thinking and experimenting with borders. So I wanted to show you a little bit of that. Now, if you watch this flower here, I've also brought in a couple of different backgrounds that I experimented with. I found a really and textural, let me just move it all the way up here so you can see a little bit. So you know, it's just a really textural painted example. I didn't like the scale of that one, so I'm not even going to keep it in the document. I'm just going to delete it. Then there was this one which I think match the scale a little bit better. It has a little bit more interest. So I'll be able to move it around a little bit on the different flowers to make each of the flowers look a bit different. So this may be the one that I end up with. And then I also brought in a couple of backgrounds that I experimented with a little bit for borders, for different ideas. Now I've used a couple of the sort of textural mixed media. Backgrounds that I have created in other classes. These can be found on my website in the artist's resources section. So this is something you can download. And then I even tried just a very, very plain gradient, which gives a completely different locks. So depending on what you're thinking about, you know, you can experiment with all these different things. And I actually really like this one. And this may be one of the things that I do at the end is two, try these with all the different backgrounds and then use them in the mockups and see which one I like the best. I mean, really, at this point it's all a matter of experimentation and it's personal preference. You might like something better in a different style. You have your own style. Of course, that's what you're going to try to incorporate when you're doing something like this. Just to follow through here, what I'm gonna do first is I'm going to duplicate this mixed media background that I did. So I'm just doing a command J real quick here. You can see the duplicate is here in the Layers palette. And I'm gonna hit t for transform and grab that middle handle. And we're going to pull that all the way through. Now you can watch at the top you screen there, you can see when you're getting to approximately a 100% Now it's always hard to just hit that a 100%. So I'm now going to just type it in. And so I've got a perfect duplicate of it mirrored on this side. And even once you do that, you kind of get a better idea of whether that's going to work for you or not. Now one of the things that would look good here would be to have a bit of a release in a different color. So I had actually brought in another one of my little textures from my website. And let's even just enlarge to this one to give that little bit of a release around the mixed media background that I have. And now when I look at this, I would want to reduce everything down. So there's a little bit more of a border, but you know, this is something like I said, it's very personal and it's very much up to you what you might want to do. Let me just hide this one and you can see what this one looks like here. And that one's also super nice and it really does also work with that sort of sketchy, briefly brushed that we did. You can select the two here in the Layers palette and then use your alignment tools to be sure that they're perfectly centered. This one here I think just needs to be reduced down a little bit height-wise. I'm holding down my Option key, so I'm going to be pulling in from top and bottom. So I guess first things first here, I want to show you how I went about eliminating the overpayment here that I wanted to get rid of. And there are a couple of ways that you could do that. One of them would be to get onto your leaves layer, use your magic wand and select the area. And then you can decide whether you want it to completely eliminate it. Now, I just want to caution you that when you do that, it's kind of Lee, cutting into your flower here. So you might want to stop and think about this before you really do it. But that would be one of the ways you could do it. So you could just enlarge maybe in the area. And when I erase, I'm erasing within the selection. And if it's this area here that I want to erase than I would have to select inverse. So Command Shift, I will give you the inverse and then you would erase within that. Now you, you really want to be a 100% sure that you're not going to be moving that flower if that's the route that you decide to go. Alright, so if that makes sense, see here that that's worked fairly well. Now one of the things that if you were to enlarge in this area, you would definitely see this sort of a white artifact that has remained along the edge. So I would undo and before doing any of the erasing, I would expand the selected area. In this case, I would do the contract because I've got the inverse selected. So I need to have with this selection expand over the edge. If you hide the selection command H and carefully erase along that line. Basically once you've got it separated like that, I'm just gonna do it with a big old eraser and just get her out of there. So like I said, this is a destructive methods because we've now completely eliminated that on the flower. We could have probably done kind of an elaborate system of masking and kind of achieved the same thing. But for the purposes of this video, I'm opting to do it this way. So now you can see here that I'm going to have to do some adjusting and would have to extend that and trim it off as well to make it work. But I'm just going to quickly go through and finish with process of erasing first. And so now in this case, we've got, I'm going to hide the edges there. And you can see that we've got the flower overlapping in areas here. So I would go ahead and do that. I'll do that with a timelapse and they'll get all this other stuff done in the same way. And then what we'll do is collapse all of those to the same layer so that I can make a few adjustments on the painting like where this stem is stem, probably all the stems meet up. Alright, so watch this. Show my edges again just by doing mandate, we I go. I definitely am cutting in a little bit to my color there, but I'm going to go back with a brush to touch their youth like this up. So it's probably better for me to just mainly get rid of that personal brush kind of edge here and we can add it back on after eraser I'm using is Kyle's natural edge year experiment with all the different ones to see how that edge looks. So you can see here that there's distinctively different looks to the erasers. I'm going to stick with this natural edge. Keep forgetting to switch to the rate layer. I have thought me racing on the rate flour. It'll be nice to get these all into one layer actually. All right, so I've cleaned up all those and now I'm going to select all of them, including the leaves here. And I'm going to merge them by using the shortcut Command E. And now you can see that they're all on one layer. If I was to move it around or need to resize it or anything like that. And I think I will just make it slightly smaller at this point. And then the next part of my time lapsed would just see me going through and touching up any of these overlaps. And one of the things I want to do here to just speed up my Photoshop. You can see all of the levels of undo here in my history. What I wanted to do is go under edit to purge and purge all that will get rid of everything in here. And for shelf will then run a little bit faster. And that's what I'm going to do is save because we've been doing a lot of stuff here, so I don't want to lose when I've got. So I'm going to resize it just a little bit smaller, maybe a little bit wider. Now one of the things that you can see here too is that my blue kinda changed. So I'm going to just make a couple of adjustments here. I've sampled this color, so I option clicked on there. Go back to that same color that I was using. But I'm going to reduce the opacity. And that way I can kind of bland. I can leave the dark there for the most part, but I can blend at least where it meets up with that color. And I could reduce it a little bit more. And I've blended that in a little bit better. User navigator, if you ever want to move just in really large increments on your screen. And here I'm just slightly reshaping it by holding down my command key. Once I have to transform handles here, if you hold down your command key, you can skew your patterns lightly. And that's what I'm doing, just to have it fit within the bounds of that lighter area. So in the next lesson, we're going to take a look at the border and role do our finishing and getting it prepared properly to put onto our mockups. I'll see you in the next lesson. 9. Border and Final Touchups for Mockup: So I've done a little bit of work off camera here. And one of the things I did was go through and add a bunch of mixed media elements here within my beliefs and my flowers. I'll just hide the forest layer. And you can see all my little bits and pieces here and here in the Layers palette, you can also see them. This was my inspiration piece that I was working with and always keeping in mind the hand painted kinda scarves bat Viera Newman made. And of course this is my own take on it. And I think I'm happy enough with it that I can move on to doing my mock-ups. So I'm going to just grab all those layers, actually including the background. And I'm going to merge them. So Command E will merge them onto one layer. And that makes it a lot easier to deal with when a piece of in these original elements, I did whatever I needed to, to cut them to the proper shape. Most of the time I use the eraser. But you can also use the last Sue tool, anything to get rid of whatever you don't need. I mean, it's a simple as that. Now, I have decided on keeping this lighter blue for border in here. And I thought while we were working on here, we could consider the possibility of using the effects that saves stroke effect and just see what it would look like if we were to add a small stroke. So at the moment, it's a gray color here. I'm gonna make it white. And I'm gonna slightly reduce the thickness of it here. So that's actually pretty nice. So that's a thought. I'm just giving you some ideas here. If you like that stroke, you wanna try applying it to the other layer. They're making up your border. You can just drag at the same time as holding down your command and Option key. And you'll see that it makes a white line there as well. I don't actually like that, so I am going to undo. You can also just hide the effect, but I do like that on that inside artwork. Now the other thing I did was I found just an element in one of my journals, but I was able to repeat. And what I did is just reflected it and then just made sure that I touched up anything that was in here. There is a little bit of an artifact along the edges in some places here, but the blending mode that I'm going to use is going to work nicely to kind of disguise that. First thing I want to do though, is duplicated sole command J lubricates the Lear and Command T. I can grab that handle and pull it over. Or we could have piped in minus a 100 here. Whatever you think is fastest. I'm not going to be actually using this myself, but I just wanted to demonstrate that I'm going to merge the two of them together. And now I've got a full border. And with that, you could experiment to go through the different blending modes to see what might work well for you, which we don't mind it. The blending mode like this multiply, that actually looks really good. So I think I might leave that I'm going to reduce the opacity. And I kinda like that effect now. So hey, sometimes it's just because of experimenting that you come up with some of your designs and can't plan everything. I kinda like it when there's a little bit of spontaneity in what I do, you can decide on this gradient if you feel that adds anything to it. I mean, it's up to you. I'm actually going to delete it. And at this point I can even delete the sketch, but I'm just gonna leave it for now. And then when I deal with these layers is I put them all into a group. And then I duplicate the group. I like keeping that layered group just in case. But this group here, I can merge. And then I'm ready to actually apply this to mock-ups. So let's open up one of the mockups. And this is the one that I had done a quick test with. Its always nice to do those tests because a lot of that Decision-making that you do along the way is a result of what you see in that original experiment that you do with the mock-ups is just always really valuable to test. And I'm sure if you are going to end up making these in quantities, you know, 1020 scarves. You won't have to do that every time. You'll kind of have the idea of what works. But initially it definitely is a good idea to do that, kind of experimenting. Alright, so my images pasted in here. It's obviously a lot larger than I need. I have a script that I've loaded into Photoshop that I can find right here. So I go into the scripts and you see I've got a shortcut here for fit the layer to the canvas. So now that I've got it fitting in here, alright, just need to save it and it will update in the main mock-up document. Now, I've time-lapse debts because that process actually takes quite a while because of the amount of layers here. But you can see here that that has turned out to be a really lovely little scarf and see a couple of changes I might meet, maybe widen this border or lightened it. These are things that I can do off-camera and show you at the end. But I want to also show you another mockup that I use that's quite nice for showing off your scarf design. So this is the one I used in the other class. You might recognize it because it's right on the title slide of the other one. And again, I would just double-click on my smart object here, you can see that there was a few of them linked to purge everything because it looks like money for shop is starting to misbehave little bit AMI select them all, copy with the other thing is that this document is pretty high resolution and it's 30 inches or 34 inches square. So it does take a little bit of processing power to do this little job. And I do find that with mockups, especially if they have a whole bunch of linked layers, they do take a little bit longer. Now this one, I'm not going to use that script to reduce in size, but rather I'm going to do it manually just so I can kind of control it a little bit. And this positioning, you'll see, I'm going to just admit that and save it. But I want you to see what it looks like if you're showing just the edge of it or if you're showing the middle of it on that mock-up. So let's go through its process here and the save. And we'll go back to the scarf, make sure it's saved. Then you can see a little bouncing beach ball there as it updates. Now this one's got less. It's only got a few of the Linked Smart Objects. And I really like these mockups that do have the linking because you're basically just pasting it into the one smart object and it update on all the other ones. So you can see when you look at the scarf that the front of the scarf that's draped over the arm is actually not the the edge of the scarf. So that's why I end up making adjustments, because I like to really control the positioning based on the mockup. Well, we'll see, let's see what this looks like. Come on Photoshop gamma1, You can do it. So there it, if that shows you a really nice mock-up of what I would guess to be a good 54 or 48 inch scarf. I know that on XYZ while you can get a 50 forage scarf. And I think that's the one that we're seeing a lot of lately. Celebrities wearing them and even belting them when they're, when they have them on. So this big pattern may seem a little bit oversized for this particular scarf, but I think it works actually very, very well. Let's do a shift here just so that you can see how that might look on the mockup and save again. And I'm definitely time-lapse sing, it's when I show you the final version here. I don't want you to have to sit and watch this whole thing. A lot of dead air. Let's go back to the document. I think that's really nice and I love that kind of a sheen that this mock-up has. So it actually really looks like a really silky fabric. So this is a mock-up that I've used more than once I really love. And now that I'm looking at it, of course there are changes I would make. I would adjust that border color. I would probably differently make it wider on this particular mock-ups. So I would widen. It may be just for this specific size of scarf, which looks to be maybe 24-inch scarf. But my whole objective with this class here was to give you ideas and show you that really almost any artwork is adaptable, especially when you're doing it in Photoshop and Illustrator. Not so much. You would definitely have to put in a lot of work and design it specifically for the scarf. But in Photoshop here you can recycle other art and have it fit and work really nicely and add that hand painted element that makes it so much light. Beer and Newman, very Newman, but with your own twist on it. Well hope you enjoyed this. Lets meet in that last lesson where we're going to do just a quick wrap up. I'll see you there. 10. Wrap Up and Next Steps: Guys, isn't it great when we get to the end? There's nothing like seeing your work on a mock-up to really, really get the idea of how it all works. I know this kind of work takes practice, but if you hang in there and produce a bunch, you'll find that your style really emerges. That's really the whole point of this kind of a class, is really to get you thinking and experimenting, and trying to figure out what products that you'd like to sell. I want to invite you to take a look at the artists resources that I have now on my website. There's probably some stuff that you could use there for your backgrounds, was even some free items. Everybody likes. Free rate. Make sure you add your name to my mailing lists so that anytime I post anything there, you will be the first to know. I also want to encourage you to take a look at my Pinterest pages. I have a board on scars specifically that you might be interested in. And I share a lot of artists resources. The two different sites that I have are Dolores art Dolores Nas grunt and teacher Dolores now script. So check those both out. And if you're really curious about my work, you can check me out on Ozil, on red bubble and societies six and in Canada here at Art of wear. I really appreciate that you spent some time with me today and I'd love to see your work posted here. If you have any questions, definitely post them in the discussions area. Any questions that you have, I will answer. And I just think it's a great way for artists to learn from each other. So I guess a since bye. I'll see you in my next class.