Vintage Retro Ornaments in Procreate 5X | Jennifer Nichols | Skillshare

Vintage Retro Ornaments in Procreate 5X

Jennifer Nichols, Leila & Po Studio

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
15 Lessons (1h 37m) View My Notes
    • 1. Introduction

      1:07
    • 2. Class Downloads

      2:24
    • 3. Canvas Set-Up & Customizing Brushes

      11:35
    • 4. Vintage Fonts

      7:46
    • 5. Palettes

      5:31
    • 6. Pinterest Inspiration

      3:54
    • 7. More Inspiration & Glitter!

      3:13
    • 8. Ornaments: 1

      13:21
    • 9. Ornaments: 2

      8:24
    • 10. Ornaments: 3

      7:23
    • 11. Extra Tips

      7:11
    • 12. Bonus: 1

      8:56
    • 13. Bonus: 2

      7:17
    • 14. Bonus: 3

      8:31
    • 15. Your Class Project

      0:29

About This Class

In this class I will show you how to illustrate vintage ornaments in two styles. One is a flat style with loads of shapes and colors. It’s so addicting and fun. I can’t wait to see what you make! The other style is more realistic and we add...glitter! 

I provide you with a ton of free brushes, palettes, and inspiration for this class so you can jump in and get started right away. 

We will also take a look at some amazing free vintage fonts for those of you who are not into hand-lettering but these designs would look wonderful with hand-lettering as well! 

a4462103.jpeg

Transcripts

1. Introduction: Hello, my name is Jennifer Nichols of Layland post studio. I'm an artist and a teacher. In today I am going to show you two styles of vintage ornaments in procreate 5X, I provide more than 50 free brushes so you can get started right away. We'll look at some inspiration, both my own and my Pinterest board. You can also Google some images and I'll show you my favorite way to pick a color palette. We'll look at some free fonts that have a nice vintage look and I'll show you how to import those. And I'll also show you some tricks on customizing the brushes that I provide so you can get lots of different looks. Then we'll get started with illustrating our first style. This is going to be the main focus of class in the bonus lessons, I'll show you this more realistic look and show you how to get a nice glitter effect as well. Head on over to my skill share profile to find all my classes, links to my Facebook group for procreate artists may Instagram and more. See you in class. 2. Class Downloads: The projects and resources section right here below class. This is where you can find all of the downloads. And this is also where you go to add your class project at the end. So you can tap see more right here. And you have all sorts of downloads. You have some glitter and some brushes, Sam, and Swatches or pellets that column swatches, all sorts of things here you have some jpegs with some ideas of my own. Just to kind of get you started and make sure you are viewing the class with your iPad in this landscape mode. Skill share is working on being able to access these downloads in the app. But right now, you can't get to these in the app. You have to be in a browser and you can't see them if the browser is, if the iPad is in the portrait mode. And those two things are things that you need to watch for and you should be able to see this. Go ahead and leave a review. If you went to, please go ahead and leave your class project for all of us to see. We'd love, I love looking at these things. So alright, let me know if you have any questions. There's the Discussions tab. I tried to check my skill, share notifications daily, and be sure to go to my profile page to find all the other classes that I offer. If the brushes really interest, you definitely take these three brush making classes. They're amazing. If you're not sure how to create a project, you just tap on this. And then the first image you upload has this eight megabyte limit. Sit needs to be a fairly small image and it's just the cover image, so it's going to be a rectangle as well. And then you can title and add some description of your project. But then down here, this image button is how you add images to your actual body of your project. So make sure you have images in both areas. And I can't wait to see what you do and then you publish right here. All right, see you in class. 3. Canvas Set-Up & Customizing Brushes: We're gonna go ahead and make an eight by ten canvas at 300 DPI. If that isn't a typical size in the country where you're watching for say, printing out greeting cards or whatever you might wanna do with this project. Go ahead and make it any size that works for you. I typically work in ten inch squares or 12 inch squares with 300 dpi. And here, a by ten is a pretty typical print size. And that can easily be reduced to five by seven, which is a very common size for greeting cards. So that's the size. I'm going with. Tap the plus sign right here. And since if you don't have it already in this list, you can just tap the plus sign here. Go to the dimensions that you're familiar with. And for width, I'm going to do ten. And height 8300 dpi for my ipad. That gives me 70 layers. That will be different depending on your iPad. And if it's an heir or a pro or whatever it is, you can go ahead and tap here and title it. I'll just write greeting card. And I'm going to go to the color profile. And I'm gonna make sure that I am not on P3. P3 doesn't isn't the best one for printing. It's more for digital. I don't know too much about it, but it's fairly new with procreate. If you really, really think he might wanna print, go ahead and select CMYK and does this generic one on top. But I'm going to stick with this very first SRGB and create. And now I have my ten by eight size here. And I wanted to show you a little bit about the brushes. I gave you this kind of JPEG of all of these that just shows you an overall view of the brushes. And that's just the brushes that are in this ornament brushes category. And then there's the stamps and the little caps as well. So I'm not gonna go through and show you an example of all of these because you have that JPEG. But I'm gonna show you a couple of things. So I'm just gonna choose a nice bright red here and then the Jens soft Lera Puna. And that one is kind of a smear. You can press light and smear like a smudge brush. You can also use it just with the smudge tool. But this one, you can kind of get a little more color pretty easily and smear that around just by a little bit, tap or a little bit of pressure. So that's a fun brush. And we'll be using that much later in the little bonus class for that really shiny ornament. This is a new pencil brush that I've created for myself and I thought I'd throw that in there. It's just kinda VM. It's not full of a lot of texture within the grain here, but it has a nice texture around the edge. And I've been enjoying hell light of a touch that, that takes. So you can have fun with that brush. The monoline brushes pretty typical for what comes in my classes. It's irregular monoline brush, but it gets really big. And that double. But these other ones I want to show you some settings that you can do to make some changes. And also Sam, just kinda tips you can use on these precious. So this diamond, so this one's called tall diamonds cuz they're upright this way. And this one's wide. So those are just two different styles. I liked the wide when for doing like a string above the ornaments. But one of the things about most of these brushes, you're gonna always, sometimes get the wrong direction on that very first one. So if you sort of start moving before you tap down, it helps to that very first one, but you can also just erase it. So with these brushes that are all created with a stamp, which most precious Are you, you can get this Bayesian TB very specific to how you want it. So if you let it snap to a straight line, you can then stretch it out or shrink it and maybe you just went those tips to barely be touching each other like that. So they're all connected. And this same thing for any of these other shaped brushes. So this little dashed line when you can stretch them way out, shrink them together. So that's one way. But the other thing you can do is go in, go to the stroke path and change the spacing here. So that is going to just give you a different look that you might want. And you can do that. I like to do unit with the snowball. This snowball when IS also has some nice changes to compare it to the other dot brushes is set to have random sizes of that stamp. So that's kinda nice. So it looks a little bit more natural in that sense. And to do that, you can do that to any of these brushes. The setting for that is dynamics. It's this jitter for the size. So that means that the size is going to kind of randomly be alternating. So isn't a pattern. But, and then you can have the difference. So the difference between the littlest one and the biggest one be changed if you go up higher. Or you can have just a more subtle difference if you go down lower. So that's a fun setting to change. And the shape on this one is not a perfect circle, so it's just kind of a cool snowball shape. And of course you can change the spacing if you want, the more spread out really close together. And these other ones that are just can offend this solid, the solid when that one has a little bit of pressure sensitivity. So you can press harder ticket a bigger dot. And these are really just cir, circles. So they're not like the snowball when it's kinda nice to have a little bit of variation. You can press harder and lighter and get that sort of a look. Have control over it by your pressure. And you can still let the lines snap straight. Some of these are there are pattern brush, so you can do the full page. But if you just want, when Chevron stripe, you'll have to kind of find where it is. And then just do that and then erase any extra bits that you have. So that was the only way I can figure out how to get a Chevron brush. So I have that and then I have the triple. And that's the reason I have them spaced out. So there's a big gap is so that I can erase and just keep one on my and design the diamond brush. So most of these are pretty straightforward. These are just some stamp rushes down here. And yeah, I wanted to just show you some of those differences in those brushes. This is when it has some different opacities in, in it. And this one is also pressure sensitive so you can get in a habit facing the other way. So oops, that size was all the way down. So if you go press harder and then lighter, you can change the size so you can get kind of a, a look where you are doing that and then maybe go back to the monoline brash and draw a stem in. They're spending more time to get that a little bit more accurate in the middle. So the setting for pressure sensitivity is in Apple Pencil, and it's just pressure size. So if you want it to have a monoline look and have every single dot be exactly the same. You just bring this to 0. And then it won't matter how hard you press. They'll all be the same. If you want those to be closer together, you just bring the spacing in stroke path. I brought him together too much and it makes more of a line. So you kind of watch that over there. And still you can let it snap and stretch them out. And if you had it spaced out like that, you could let them snap and then shrinks back down. So if you had it more spaced out, let it snap and condensed them. So you have a lot of flexibility with these brushes. All right, so we talked about Apple Pencil pressure for the size. And the higher you go, the smaller it will start out. And then as you increase pressure, it'll get bigger. So you can play around with those. And we talked about the stroke path spacing, and we talked about dynamics, size, the jitter for the size. So that will make them randomly be all different sizes as you draw. If you need anything to get bigger or smaller, you can go to Properties, brush behavior, and bump the brush. Maximum size up. You'll probably need to change the preview if you do that. And the preview is just what you see here. So if that size gets too big, you won't be able to see the little label here. And if you, Let's see, if you want to make a lot of changes to a brush, just go ahead and duplicate it. And then you have my original and then you can go in and do anything you want with that brush and save it. So if you are having fun, if you haven't taken my brush classes and you're liking to play around with some of these brush settings. I highly recommend hopping over two my brush classes and you can learn lots more of my tips and tricks. And I have a stamp making class. So that's if you, if you see some more shapes in your research and you decide you want to stamp of those and you're not quite sure how you can learn how to do that in that class. These pattern brushes are in the pattern-making class. So these are stamped making, pattern-making. And then there's a texture, texture brush class which is different than these. All right, see you in the next lesson. 4. Vintage Fonts: So I went to win 1000 when free fonts.com. And I found these fonts that have a nice vintage look to them that I wanted to. And they're also freeze. And I want to show you how to import fonts just in case you aren't sure about that. And if you already know how to do that, you can skip this lesson. So go ahead and go to 10000. When free fonts.com, there's other free font sites. So this is just the one that I tend to use. And I can just search right here, search fonts. And let's type peak. That was one of the ones that we were looking at right here. And you can see right here it is a free font. So some of these say free for personal use and all sorts of different license types. So you can search right here for different license types depending on your needs. The ones that I show you in class are all free or public domain. And those are really the only ones I ever use because I want to be able to trust that all of the fonts that I import into procreate are free for me to use and I don't have to try to remember which ones are and which ones aren't. And not just free for personal use. I want to know that I can use them in the class and use them on something that I might sell. So find one of your funds and then tap download. Now I'm in Safari. So this might be a little different if you have a different browser. And before I tap this and I need to look at this little arrow pointing down. And it had the little progress bar that went really fast and then the arrow bounced down and that just shows that it downloaded. So here it is, right here I have these other ones. You can clear that out later. So you can just tap right on this and it goes to your files. So that's what your files folder looks like. You can go to recent and see what you recently did. If you forgot the name of it. In this section, it's going to be in alphabetical order. So if you have a lot of things here, you'll need to make sure you remember the name of it and scroll through and find it. So it's zipped. And all you need to do is tap it. And that little folder pops up and that means it's unzipped. So then you can tap that folder. And this font has all these ETFs are all different fonts. Sometimes you'll see a page that's included in the folder that has a license agreement. And so you can read that. It's usually venture lawyer talk. It's stuff like don't sell this font and things like that if you're using a free fun. So that T, T f, So that you can see the names peak, peak, bold peak, shadow peak, squat. Squat bolt. And what you're going to find when you have to import these one at a time. And there's a few ways to do that. You're gonna find peak and people that are in the same group where he and you'll have a bold option. So we'll I'll show you that. So you can just go ahead minor defaulting to open and procreate. You can see the procreate symbol on them. So if yours isn't going to default to procreate, you might have to take a couple extra steps. And I don't know how this started to default. And you might have to tap and then select procreate out of some options. So for me I just need to tap and it imports into procreate. And then I'll just go ahead and add text. So we can go look for it. Go to the little AAA here, and go down to peak. They already had it. So this is going to be interesting to see if it's here twice now. So I have peak. And then because I already loaded all of those fonts, I have regular in bold, and then I have peak shadow. And then I have peak squat regular in bold. So that's 12345. So you have all of those options for that text, for that font now, k, so that is how one way to import it. Another way is actually by going right here to the import font section. This way is a little bit more, I don't know, fuzzy in my opinion. I have to work through and find my way to those and that just seems like extra steps. And then I can tap on it from there. And then the other way is just by split screening. Whoops. It's not letting me because I was already in. Okay, so let me delete that row layer. And now I'm just going to split screen with the file's app. Find my fonts. So wherever you are you can go to downloads, you can go to recent, right? And find your, this, this has m, but it's kinda out there, all spread out here. So I'm gonna go to downloads, peak. And from here I can just drag and drop, drag and drop. So that's easy if you have several. That's another way to do it. I also want to show you how to delete fonts from the imported fonts that you already imported. Say you imported a font and you don't like it. You just started using it and you realize you don't like it. You need to go to on my iPad and there will be a procreate folder. This is not something I created. In that folder, I created some of these subfolders, but procreate created this fonts folder. These are the fonts that I downloaded into procreate. This is where I need to keep them if I want them to still be in procreate. If I want to delete a certain font from procreate, I can delete from here. So you can tap select, and then you can tap a whole bunch of them. And then you can tap delete. So if you, for example, you want to clear up some storage space on your iPad. This all takes storage within procreate and on your iPad. So and you can kind of thin things down by decreasing the fonts. Yeah, so that's how you do fonts. From 1000 woke free font, 1001, free fonts.com. And just in general, how you would download and import fonts into procreate. If you forget this Sunday and you can't remember which class it was in. I do have a lesson on it in my beginner class. So you can go and fresh in your memory just by searching for the topic really quickly in the lessons list. Alright, see you in the next lesson. 5. Palettes: So I wanna show you a quick way that I check my color palettes. And it's going to rotate this. And I'm going to select my monoline big and put it pretty big. The pallets I provided are just SAM vintage colors that I decided, you know, looking around and doing research. I just picked up fees. So these are sort of mini pellets. So this is three pallets, 333, while this one is just kind of some grays. So this is two pallets. So you can figure out which one you wanna do. Set the default. Let's see, set that went to default and then I go to the disk. So this is how I like to view my color palettes. A lot of people like the classic and so you just need to do what works for you. And I'm just gonna do, let's do this one right here. Five is pretty simple to do. And what I'm gonna do is put a big stripe of each color on the canvas. Alright, if it bothers you that there's more brown down there, maybe stretch it out. Oops, I listed a little and stretch it out a little bit. And now I need to go to a smaller size. And I'm gonna put a dot of each color in each section. So with my brown that's selected, I can go, I don't need to put a dot on the brown, disco brown, brown, brown, brown, red, red, red, red, blue, blue, blue, blue, green, green, green. And that creamy color. So this one is simple because there's only five colors. And from here I can look and see what colors are kind of hard to look at, hard on your eyes. And what colors are too similar. So if I were to, these aren't too bad, but if I were to decide on some that are kind of hard on the eyes, I would say that this blue and red and you can even see it here. You can see kind of a dark line around this blue and in-between. They don't see it as much here. I see it mostly up here. You see a little bit on the brown and red. Whereas this green and red looks great together. There's no harsh line. Her hurting, kind of bugging my eyes. The cream looks great. The cream looks great with all of the colors. This blue looks great with the cream and the brown. The green and blue, they are okay, but they're pretty similar. So that's one of the things to look forward to is things that are a little too similar. So what I do with this is I decide, okay, what is my background color going to be on my project? And then I look at which colors should I avoid making a combo of? So, I might avoid putting the blue and red together on top of each other or next to each other. I'll still use them in the same palette. Or from this point I can make some changes right now. And maybe I want to lighten that blue a little bit. Let's see if that helps. That helped. It's kinda easier on the eyes. It's a little bit more blended with this green, which isn't great, but it's not terrible. It'll be fine with the cream and the brown. And now unfortunately, uh, do you need to also, because I did this all on the same layer and need to completely redo my dots on this. So there's, there's more effective ways to do this little process, but I don't, I like fan, I have fun playing around with it. Alright, so this is a good way to get started playing around with palettes and figuring out you can just add another layer and do the same thing with another palette. Maybe this palette right here. And now you have eight colors to work with. So your little stripes are gonna be narrower so that you can get eight onto the page. Your dots may be a little bit smaller. Yeah. So then you'll also need to make smaller dots so that you can get seven dots all the way across. And you go through that same process, you can see that red doesn't look so great with that blue. Looks great with this blue. These are pretty similar, but they don't clash. These look okay together. Cell. Alright, so have fun doing that if you want. Sometimes you just want to wing it and not worry about this part and just kinda play with color. 6. Pinterest Inspiration: In the resources section, you'll see a link to my Pinterest vintage Christmas board. So go ahead and tap on that. I really found a lot of great stuff on Pinterest. And you can just Google search images as well. It's kinda hit and miss in the usual resources I use for free use images like and splash and pixabay. I didn't find much at all. And so I came over to Pinterest. I am not a huge Pinterest user. So I try, but I kind of wax and wane through a whole bunch of, here's some old adds, some actual photos and then some illustrations. Some of them are just new illustrations made to look old and some of them actually are old. So hopefully you get some inspiration here and you'll probably see some, some fun things like this one's got the, the dotted lines. A lot of them will have these dotted strands. This one has some bigger wins along the strands. You could use our brushes in that way as well. And then some of them have a little bot. So I have those Bo brushes, the stamp brushes. These are not free use images. You can get some inspiration, but you can't copy these. Maybe like a color palette. And you wanna kinda go, Oh, these pale pink and these reds and blues, they look really good together. I'm gonna make a pallet similar to that. You can definitely get inspiration like that, but you can't copy these. And you can look at the designs and CVs, swirls and as big snowflake, eventual little snowflakes. This one has the same little cap on each one. I have six cap stamps. So maybe you'll want to try a style where the whole page has the same cap style. Instead of having varying styles and making a card that might be kind of like a streamer like this, using that part of the inspiration for your unique original illustration. So just make sure you don't copy. This is a really cool vintage card. So these little wavy lines, I have that double monoline brush. You could do that. Oh, look at that. So there's kind of my home, if I can zoom in, there is kind of my snowball brush and there is my little Taotie brush. And then I have, actually I have loop de, loops in bows similar to these. This is more of a hand-drawn lick. The other thing you can look for, for inspiration is a different style. So you don't have to keep these with a vintage look. You can make totally different stamps if you went or just hand draw. And do you different styles that don't have this vintage look? There's some really fun Scandinavian looking bulbs and all sorts of different styles. This is actually more of a different style, not really a vintage style. So that's an example. And there are some inspiration of having some fun background stamps. And of course you can tap on these and then there's even more inspiration down below. So it's kind of a rabbit hole here. And hopefully that helps you get started. 7. More Inspiration & Glitter!: You'll also find a JPEG with this design. And this is just a little taste of how you can mix and match the stamp brushes. And these are little hand-drawn elements here. But the rest of these are all the brushes that are in class. And if you look really closely, you can see that grid texture on top. That grid texture is on linear burn up, actually in a wet, this lens on Color Burn this one. So you can look at what colors you have on the page. These lighter colors don't necessarily show up well with linear burn and they might show up better with color burns. That might be why I made that choice. And then the other group is just an example of the different stamp brushes that we have for the bulb shapes and the caps. So there's only six capsid reused a couple of them in here because there's ten bulbs and they're all right here in the ornament stamps brush category. I think that grid texture gives a nice vintage look. Of course you can leave it out to you. And finally, I wanted to talk to you about glitter. So I have a glitter free download. You can go ahead and import the glitter images into any of your work and I'm going to show you that later. But before I do that, I want to show you how you can just go ahead and add an insert a photo, and then tap when he or glitters, right? So then you can, you can, if you need to make it bigger, you may not need to make it bigger. And I'll show you why when we do use this. But what I really wanted to show you right now is that you can change the color of this. So you want to keep that JPEG, because you might want to keep pink and you're going to change pink right now. But then you still have the pink in your JPEG in your camera roll. So you can just go to hue saturation, brightness and go to layer. And you can get any color of glitter, just about any color you want. So you can't do this with the silver glitter when. But you can do it with the gold. And you can do it with the, this PINK1. I would really only play with discipline. And then you can just leave it at right where you wanted kind of greenish maybe, and then exit that page. And now you have that for your project. And this is going to be used. This is, I'll show you how to use this in the bonus lesson on the other type of ornament that we'll be doing later. So that's kinda fun. And then making it silver, you just drop the saturation all the way down. Alright, we're ready to get started. We went through all the basics of what you need to know and now we can get started. See you in the next lesson. 8. Ornaments: 1: All right. I'm going to show you some of the ones that I've finished already. On this one I decided to use when bulb shape at different sizes for all of them, but none of them are overlapping. So that just kind of happen that way. And I used that peak font. I did some stars on the background. I use my monoline brush for the polka dots. And then did since Star stamps on top, you can see the diamond grid pattern, checkerboard pattern back. They're overlapping stamps, multiple stamps on these. And that's one. Here's another one with a very seventies field with that Brown. This font is Bernardo moda. That's one of the ones in our list. For the chevron I I am I entered that. I'm selecting and moving it around so that they were all closer. So I had a whole bunch of them and then I moved on in closer. Little diamond strings, so little loop de, loop ribbons. And then the lighter when these lighter background seemed to go with the other colors. So that's kinda nice. This is that chocolate box fun. I did have to separate the top and the bottom. They were really close together so that something to watch for. Let me show you how to do that. It's the leading. So it adjusts. It was like that was really overlapping. So that's just one of the things when you pick free fonts and you get just everyday people who are making cool fonts and posting them up there and they may not exactly know how to fix that type of issue with their font. And then you can see that I did a whole bunch of testing with pallets down here. I have another one that I was working on that I am really not fond of the pellet, so I kind of bailed on it. For this one, I did more of a hand-drawn look. So I used my stamps to do just one kind of design for everything, but then I just on a different layer, traced over the stamps to give it more of a hand-drawn feel. Separated with I didn't do it with this dash line, but I did it with the snowflake. I did it with the bulb itself, which is why it's gotta textured edge. I used the dry ink brush in the inking section. It looks like I just used stamps on this, but I did trace the curly curly. So that's one way you can get more of a hand-drawn look. So we're gonna go ahead and go into our eight by ten and pick our palate. That's a good starting point. I'm going to pick from vintage winter when this one that has pink and red and the T-cells in the dark green. So I set that to default. And then now I have it right here. I can clear my history. If you don't have history, it's because of the iPad that you have now, all the iPads have it. And I can go ahead. I'd like to go ahead and change my background. I'm gonna do the pink background. I'd like to start with a bunch of layers and then I also like to go ahead and put my grid. I know that I'll be using the grid, vintage grid. So I'm gonna go ahead and put my grid down so I can see what the colors actually looked like. And it go ahead and just do a green gray that's just straight across right here. Make sure you fill the whole page without picking the pencil up only because this particular grid has some transparency to it. So if you pick up and go back down, it's just going to add another layer that same color but make it more solid. And of course, any sizeable do really. And then let's just go ahead and turn it to Color Burn for now and turn the opacity down to about 40% or so. So hopefully you can see that in the video it's just a little bit visible there. And if you want, you can test your other colors and see how they look. Come up to the modelling brush and see how they look with that grid. Can't see the grid very well on that. You can barely see the grade on this. So let's turn it to Linear Burn and see if that helps. Linear Burn does help, but it also made it very gray, made the grid very gray. So you might want to turn the opacity down even more, yeah, like that. So that's just a personal choice. You can make your decisions based on the look that you like. Alright, so you have your canvas setup, you have your grid up top, you can lock it so you don't accidentally drawn it. I just alpha locket. You could also lock it, lock it right there, and then unlock it in the same way. You have your background color, and now we can just start playing with our ornaments. So I start with the ornament shapes themselves. So I'm gonna go ahead and think about what color I want my ornaments to B. I can change my mind later by using alpha luck. So don't worry too much about this. And then how big, how big do you want your ornament and if you need it bigger than the biggest size that's currently here, go ahead and go tap on that brush. Go to properties and make your brush behavior maximum size a little bit bigger. If you go too, too big, it might not be a very clean outline. But this looks good. I made the stamp with a pretty big size. So that looks okay. But I'm finding that this pink and green seem to clash a tiny bit. So I might not stick with that grain on the pink. And you don't have to stick with these colors either. Whoops, here we go. You can maybe take that green and then bump it up a little lighter. So you're still in the same family that you're just going a little lighter or maybe a little darker, but we already have that dark green hair. If you want to remember that color, you can go ahead and add it somewhere. Go to a different brush or a different shape. I am doing all of my ornaments on the same layer. But that's because I don't have any overlapping ornaments. So if I wanted to have an overlapping ornament, I would go to a new layer and then I would pick whenever ornament I want to do. And maybe you have one that's kind of down here. So it's in front of it and maybe closer to you. But because of the way we're going to be using clipping mask, it won't work to have those on the same layer. So that's definitely something that you can do. It will use up a little more layers than than having them not overlapping. But that's okay. It's a great look. I love that. I don't have a tan one or a dark green went, but it's okay. You don't necessarily need all of them. You can use a lot of the dark green in the tan in your designs to sew. And I'm looking at this pink and I think it's a little dark. So I'm actually gonna go ahead and lighten it a tiny bit. Alright. So the little limited color palettes that I put in here, they look great together. You can go lighter and darker in that same whew. Just kinda go lighter and darker in the palette here in the disk. If you're on the classic mode, it would be right in here, anywhere in here. And that gives you more flexibility with each of these pallets. Alright, I'm gonna go ahead and keep my overlapping stamp here so that I can show you how you would continue with your project if you had overlapping stamps. I would go ahead and go way up to the top. You can probably stick with one layer for all of the little caps, since the caps themselves aren't overlapping. And go with that light color. And I'm just gonna go ahead and stick with one cap shape. You can decide if you want to have it be right down to the bulb itself or if you want to have it kind of hovering over the top loops at my color changed. So you could have it be up higher. If you have a hard time getting it exactly where you want it. You can select it, make sure you're on free hand and move it around. But because they're on the same page, you can't really move the whole page around. You have to select just the one. I know this is the same color, but I'm gonna go ahead and stick with it. So you decide if you want it to be further down or further up. If you want to have it be more like right at the edge of these sides here. So if you want to have it just barely fitting and not have a lot of overhang like this one does. So lots of different ways to do that. Go to a layer above that. So I came up pretty high on the layers to do the caps because I know I'm going to be using these layers down, down below. I'm going to go to a layer above that and think about the little strings. So I haven't used this tan yet. It probably won't show up too well. And I'm gonna go ahead and use my little snowball brush. So one of the things that you can do is just do a cool little loop on them that might be too big. I'm going to choose a darker color for video. And I don't like that color, so I'm gonna go a little bit lighter than that green. So you can do kind of a little fun little loop that I am liking to do the string. And then I let it snapped straight and I put my finger down to get it to snap perfectly vertical. I'm going to have a smaller string. I'm gonna go to a different color. For this one down here. I'm gonna go to the wide dynamic to change things up a little bit. Hmm, I can't choose pink because of my background. That's kinda fun. And one final Len, I don't wanna do teal until I'm going to use that green. Made the diamonds a little bit bigger. And I like to speak diamonds. So there's a lot of different brushes that you can do that part with. Alright, so that gets you the foundation for your design. Then you can think about, do you want to have them all over to the left so you can have some writing over here. Do you want to have them this way so it can fold like a greeting card and a normal way. Obviously this can fold like a greeting card this way too. And yet so lots of options again, go to Pinterest for some more inspiration. You saw that streamer when that had HIV cools, strings and then had bulbs hanging off of it. I really liked that one. I probably will go ahead and make one of those soon and just get the foundation and then we'll get started in the next video with adding our details. 9. Ornaments: 2: Alright, for your details, I need to go down and add a few layers. So you have this on one layer, so you're going to need some Clippy masks above that. So go ahead and tap on a layer above that. If you don't already have a layer, just add a layer and tap clipping mask. You'll probably need at least two. And then the layer that has the rest of these bulbs on it go to layer but that clipping mask. Clipping mask. So I've to Clippy masks for each of those two layers. If I decide on SAM color changes for any of these things, I can two-finger swipe to the right and maybe just go to them. Myelin big brush on a really big size. I made that brush even bigger than you're used to if you're if you've been in my classes and then you can just fill in a bulb. Right? So you can change anything at any point. So I don't typically do much to the actual bulb layer itself in case I do want to make a change. So all the decoration is on layers above it. So for now I'm gonna turn this bulb off. I can go ahead and leave the cap and the string that I think won't bother me too much. And I'm gonna go ahead and do the clipping mask above the layer that has these three bulbs on it. And just start picking stamps and designs and colors. One of the fun ways to use this petals three brush. I'm gonna choose that dark green here and I'll show you right here on this light green bulb. I'm gonna let it snaps straight. This is a very flat way to illustrate. I'm not doing any shadowing. And you can for sure, but I'm not it, I'm not going to show you that kinda stuff in this particular class. And then I'm gonna go to my monoline brush and go to the red. Maybe go a little lighter. And think of a very size that would look good with bees. And just try to be placing them in a consistent spot. If you aren't familiar with clipping masks. They are very awesome because they only show up on top of what you have on the page. So they're gonna show up over here too, because that's all on the same layer, the base layer that its clip two. And, but it allows you to move stuff around. It's all still there. So maybe you don't want to have just this partial. Maybe it ended up being kinda like that with this little weird partial spot and he went to kinda get it lined up a little bit differently. Right? So you can move it around now. I can move that around without selecting it because I didn't have anything else over here yet. So once I have more designs on my other bulbs than I would need to tap the ribbon tool free hand and select and then the arrow to move that around. Because then I won't be moving all of this. So that's a fun way to use that brush. I like that. I'm going to leave that there. You might have a different workflow than I do. I'm usually all over the place back and forth. So you might want to just focus on this bulb and finish this bulb before you move on to this bulb and all up to you. But this is just all here for inspiration and for you to use however you like. So for me I'd probably do. Gosh, C, This takes me forever to figure out. I probably won't do any more pedals. I'll probably stick with a monoline and maybe not going to do pink because it'll really blend here. Maybe the cream color, it gets some brightness on there. Now, this is where the second layer is going to come in handy. I don't want to have those on the same layer, so I'm gonna go to my second clipping mask. And that way, if I need to erase this, I don't have to worry about accidentally erasing the little petals that we got there. And if I need to move this around, I don't have to care fully select that I can move it around. Selected really easily since it's on a separate layer and move it around pretty easily. So this is a lot of layering. There's a lot of layering in this illustration style. I think I'm gonna go ahead and do some pink on top of the cream. I'm gonna let it snaps straight. And then I don't want to let the Pink go to the very edge just because the background is pink. So that was a good opportunity to adjust with that after it snapped, to adjust the spacing there. Now I think I'm going to select the teardrops and I'm also going to go to the green color. Oh, I just realized, you know what I did. I put the cream and the diamonds on the same layer. So I just need to keep that in mind. It's totally fine. But I can't make a change to either of those without just starting over on that section. So that's fine. It's better than using a massive amount of layers for this. But if you feel like you are going to be really layering things that you probably will need three or four clipping masks for each bulb layer. Alright, and I'm going to turn to my whole Canvas to get that same brush, to have that same look down here. So now we can just keep going with the other two bulbs in cycling between these two Clippy masks, potentially needing a third mask. And then we turn on that other layer and finish the apple as well. So I'm going to kind of speed forward through these other tuples. I have finished the patterns I have on each of the bulbs will come back to the next lesson to finish off this design. 10. Ornaments: 3: All right, I have some extra layers here, so I'm just going to delete. I have this one right here. I'm gonna go ahead and drag down below everything. So I have a layer where I can add some fun little snowflakes and stars and any sort of designs you went, going on in the background without making it too busy. So this is pretty fun and just kind of randomly gives them Steph going, make sure you leave space for some words. I've also done the swirly patterns here on the background. And maybe do a really big one. And then turn the opacity way down. Change the blend mode, play around and try to figure out if there's when you like. Sometimes it depends on the colour you started out with. So if you three, two-finger swipe to lock it, you can go ahead and pick another color. I tend to do grays with the different blend modes. So now I can go ahead, get a darker look with it after all, instead of a lighter look, kinda make it super pale in the background there. And that just adds a little more fun to it. Kinda ties in with this. There's a lot going on with these designs. So just try to be careful not to get too much. You want it to be easy to look at. I'm not a big fan of this pink. I might play around with the pink a little bit. Maybe go to the Tan. I didn't use a lot of ten in my design, so that actually works. The green works too. So I think it might choose that tan and then lighten it. Not as light as this other cream color we have here. Maybe go a little bit more yellow. You don't want to do too much saturation because the vintage pallets are typically a little bit less saturated. And now my starters aren't showing up very well there underneath that swirly layer, so I can go ahead and drag that up above. But I can also alpha lock it and go to a much brighter color. Maybe just go to white and fill layer. That's a little bit too white. So if I go to this cream and then bump it closer to white, but it's not really true white. That's better. And if you could even lower the opacity if you want them a little bit more pale. There we go. I like that. So that is a completed design. Although now that I'm zooming out a can't really see my caps very well. And since they're on their own layer, I can alpha luck that layer and choose a different color for those two. And that little string right there, I'm going to alpha alloc, and I'm gonna go ahead and change the color of that just by picking my color and go into this monoline brush. And since I'm on alpha, k can just color it in and it fills it up. Ok, I'm happier with that design. I think I might change the color of this. So you can see you can really go through, and this is on this layer right here. Second alpha luck of that layer. And I might just brighten this up, brain that up. So that was good that those stripes in those were on different layers. So I could easily do that change. Now we need to add some lettering. The wrench tool at text, Merry Christmas. And then I do an exclamation mark. Somebody's fonts don't have great exclamation marks. So you might want to change that later. I'm going to select, I just kinda double-tap or triple tap or something and then pick a red, maybe brighten it. And I'm gonna go back into it, tap the little a's, and find one of our fonts. So we had one that was called peak, when that was called Chocolate, something when that was called. I don't know how to say it. Poi RET one. So that ones can a nice, it's a very thin though, so that might not be the look you're going for. Triple tab. I'm going to bump up the size. It's a pretty thin font and I don't have a bold option. So I'm just gonna make sure it's big. And there is a fun little Christmas design for a Christmas card or just anything you want. And second guessing my background color again. Oh, I think I'm going to stick with that darker TAM. Now I selected the font, okay. Alright. So I hope that this has provided you with a lot of inspiration for all the different things you can do with other layering that you can do here. I'm feeling like these two are a little bit too busy together. I might get rid of this checkerboard layer here. And there's, since that was the only thing on that layer, I can go ahead and make all sorts of changes. Maybe I want to go with I don't wanna go with the teal that's right there. Maybe is still in a go with red but just not do that checkerboard. I'll go with this little swirly frame. Something like that. Lots of options. Center my diamond and a little bit more. And I think I'll go ahead and add another diamond. Just keep it on that too, right on top. Actually, let's do offend the star. All right, so you get the hang of it. And then with the beause, you can go to a layer above everything and pick a fun color and add your little bows or a little loopy piece here. Right on top. 11. Extra Tips: All right, I have some extra tips for you, and this is just a way to get more of a hand-drawn look. So your stamps don't just have that very vector like feel I like both ways. So just personal preference. And what I did, I just kept our original design. We did. And I went ahead and used stamps. Let me turn my stamp lawyers on. So I used stamps just to get my design. And then I traced on a new layer, just hand traced everything. And then I turned my stamp layer off. So here's my stamp layer. I traced roughly over the top. So it does have a very hand-drawn look. And then I turned my stamp layer off. You can do the same thing with the actual stamp of the bulb and have a nice rough edge, maybe a little bit of asymmetrical look to it. And it gives a nice look. I didn't draw this snowflake three times. I just drew once and then I copied it and moved it over. I even traced in hand, drew the little ribbons. These are just the stamps that didn't do all of those by hand and I didn't do the hand lettering. But you can also do those, of course. And now it's a nice different look. I used a different color palette on this. Here is a zoomed in version of a, and I just use the new soft pencil, Jens soft pencil. But you can use any brush, Of course. I like it. I'd probably focus a little bit more on asymmetry a little bit, maybe make these a little bit wonky or the other two things I want to show you really quick are how I do this bulb. You'll see that as one of the stamps. And then also just a quick note on doing this. Some elements not on a clipping mask. So these dots are done on a clipping mask and you can see how the die is cut off because that's what a clipping mask does. It just cuts right to the shape that it's clipped to you. Whereas this row of dots isn't on a clipping mask. So it's able to show that past the edge of the bulb. So that's a fun look because sometimes some decorations are raised. So that helps you visualize that raised bump there. So some elements not being on clipping masks, That's a good idea. And then for this, I'll, I did. So let's go ahead. I'll start over with a new one here. So the stamp that has that shape, those are more just guidelines for you. You can leave them just like this. You can do lots of different things. I would go to a layer underneath and fill it with some color, whatever color you want that works in your color palette. I'll just go with red for now. So underneath and I can just put a blob here. I do have to make sure I don't go past the edge. Fill it so you have a solid bowl but that way. And then on a layer above, so this is not a clipping mask. So on a layer above olive it that's not a clipping mask. You can pick a brush and pick a different color. Well, it's going to light green just for some contrast. And you can just draw more lines like what is already there. I attempt to draw these little petal shapes. You can look at some reference photos and see maybe you might want to bid of an almond shaped like this. Whenever you decide, these are just indicators that this little area is sunken in. If you've seen those bulbs. It just gives a fun look for sinking in a little depression, kind of like a cup down in there. And then I'm going to do a circle here. And I'm going to let it snap and just keep it where I need it. And you can tap this Edit Shape to move it around, change the size. I'm going to tap and hold to get my monoline as the eraser to and just erase this little edge sticking out here. The last step would be on that same layer or a new layer if you're not hurting for layers, is to just put a ring around. Let's be on the pen instead of the eraser. Let's put a ring around that where the white and the red meat let it snap. And then you can move it around and cover up the edges where the green are touching in the red and white are meeting. And just give a nice finished edge that way. When you do your designs on your bulb, I would do that underneath. So here's a clipping mask underneath, so it's on top of this, but it's under this green. And that way, when you have your designs on this bulb, they just hide right there. So and they'll extend over here as well. So that is a nice way to get some declarations on there without having to worry about them overlapping this area. And you could do all sorts of things to this area. You couldn't, you know, maybe fill this in entirely. You can make this a little bit more decorative. Maybe you wanna make it look shiny with lights and darks, but this is more of that flat illustration style. So for this style, you don't wanna do too many details. If you do this bulb with the style that we use in our bonus lesson. And then you might have a lot of shiny details you can add in this area, just look at a reference photo. I provided a lot of picks with that style of bulb. Alright, so I just wanted to include those couple last tips that we didn't have in the original lesson. And now you're ready to go. 12. Bonus: 1: Alright, we're gonna start a new canvas. We're gonna do this type of ornament right here. So tap the plus sign and you should already have the ten by eight. I'm gonna go ahead and make one that's eight by ten. So for inches the width is eight and the height is ten. And I'm doing it separately instead of rotating my canvas because I I think it affects the time-lapse video if you rotate your canvas. So don't quote me on that, but I'm pretty sure it does. Let's go to kind of a creamy color background. Add a few layers. And you could do this ornament seven, or ornament five. I'm gonna go ahead and do ornaments seven for this. And I'm just gonna pick white on the biggest one. Put it down kind of low so we can get some strings at their, Alright, I need to have my photo over here. So I'm gonna go ahead and come up from the bottom here and come to my Pinterest and do the split screen. And the when I'm looking for is this one right here. So hopefully you can get to the Pinterest images. And I'm going to look at either this red one or this golden or this green one that's somewhat similar to this shape. I don't know if I can zoom. Oh good, it's zoomed. This is kinda fussy in Pinterest when it's over here. So I'm not going to touch it anymore. I'm going to leave it right there. And we're gonna look at the red one. So I have my ornament. I'm not going to worry about the cap rate now. I need to bring that ornament down and go to a layer above it and make it a clipping mask. It doesn't need to start white. So that's just gonna get completely covered. And we're gonna go to a red, a pretty kind of crimson, solid red. And we're gonna go to my Lyapunov brush. Pretty big size and we're just kindof fussing around, getting read on here. Now this is going to add more color where you tap. So if you look here, you have a really light reflection. Mostly right there, a little bit right there to see you can add those later. And I don't like to start with the red as the base color for this, but you could zoom in so you can really see this. And I want to really look at where the darks are. So the darks are on the underside of each of these bulges that stick out. So it's going to be dark under here, dark under here, dark under here. So you can kind of toggle around here, smaller brush and get some dark. You can go to a new layer as well. If you don't want to mess with that layer, gets them dark on the underside of each of those sections. And we'll be adding some dark to these betas are sections as well. And you can see that right there already makes a huge difference. You can really start to see them. 3d look coming out. And then we're going to be darker on this side and the light is shining over here where this big bright reflection is. So let's go up to a bigger size and get some darkness over here. Around the bottom of this big bulb here. And there'll be a little bit of darkness over here two, even though the light is coming over there. So I am if done this many times, so I might be going a little fast. So don't feel bad if you're not going this test. It's just practice. And I'm seeing a very vibrant red and you'll be able to see it better when you find this photo. So I went to go to a really bright, bright, bright red, come down in size. And that bright red is really kind of this middle to the right section. And there's some up here. There's a little bit of here. It's really an imperfect thing here, and I'm smudging with this brush as well. So I'm just going to smear, smear, smearing, some brightness. I'm really just going for getting kind of three tones of red here. So I have that base red and the dark. And now I have to really vibrant, bright. So you can go even lighter, really tiny. And look where there's some really bright areas. And that is going to be kind of on the top of each of these sweet dark and the lower part of each of these sections, we're gonna get a little bit of brightness. On the top part is kind of right in the middle, more off to the left, on top of each of these kind of bulbs as they come out. So this 12, this is going to give it more of that 3D Look. Don't be afraid of sharks. So as you look over here, these dark reds are really almost black. I'm in a go ahead and go to another layer on top of all of it, clipping mask. And I'm gonna go ahead and put it on multiply and go back to one at the deeper reds that we were using. And this'll help get that really deep red. Because it's on multiply. That's not quite as deep as I want it to be. Somebody go even deeper. There we go. So there's a lot of dark over here. Brush size up a little bit. There's a lot of dark and these grooves over here, really shadowed over here. Smear, smear, smears, much smudge, smudge, blah, blah, blah, jab, jab, jab. And not worrying too much about this one because I'm going to cover it with glitter. All right? And now I have a lot of darkness right around here. So the bright spot is going to be right here, but there is a lot of dark red around it. So let's go do some there too. And we need our super bright. But so you can do another clipping mask. And we're going to change that to the ad blend mode. And we're gonna go ahead and choose almost white, but it's kind of pink. This is going to be really bright. So be careful. I'm tapping to get a lot of color down and then I'm going to smear. And I'm looking over here at how big that brightness bright spot is going to be. So if you tap more, you're gonna get a lot of color down. And it's going to be like blinding white. So be careful. Here we go. There might be a little bit more down here and that's gonna get covered up. But we can add a little bit more down here. Oops, somebody that's switched to smudge brush because I, Oh, I don't want to add any more of that color and kind of blend the edges of that a little bit. All right, so we have our nice bright spot, we have are really dark spots. We have some highlights. And it's looking pretty 3D. So in the next lesson, I'm going to show you how to do the decoration and the glitter. 13. Bonus: 2: So if you look on here, it might be hard to tell with the video, but there's kind of some gold paint as well as glitter that's actually glued on. So we're gonna do the bold paint first. And to do that, we're just going to pick kind about orangey color and kind of come down to a less saturated kind of golden rod, orangey yellow. And that's kindof a goldfish color. And then go to my soft pencil. This shape here is kind of off to the side. You're gonna have to just do your best drying this, um, it's Canada, bottom and a top like that and then the sides poke out like this. Okay. I'm on the wrong layer. New layer above it, make it a clipping mask, our rate. So we have kind of a top and a bottom and then these kind of bulging sides here. So this isn't too fussy. We need kind of a wide stripe per wide band of paint. And it doesn't have to be exactly like the picture. And we're gonna have the litter layer kind of hiding any imperfections. So it really just needs to be approximate. And then down here there is a little diamond. And once you have those, how you like, I'm not doing any of the glitter, just painted. You're going to alpha lock that. And then you're gonna go to a lighter version of that gold color. And you can look on here where the light ones are, light areas are, and just kinda blob some, some light areas. This is really light down here, even lighter. Some blobby areas on there and then go back to that gold and go darker as well. That's an dark down here. Just gonna get some color variation. Get his zoom way in. And then I'm gonna smudge with the lacuna. And I'm really just kind of blob smudging. Oops, smaller brush. I want texture to remain. I don't want to just blend it till it's just a gradient. I guess. I went some light and dark. And tapping. What you're hearing is little short, little strokes. So I don't pull the color too far. I don't want to smear it all over the place, but I went to smudge it, blended and a little. So you can't see those blobby edges. And then now we need a new layer. And I am not going to make it a clipping mask, because if you look at the gold, the gold kind of sticks out over the edge of the ornament. In if I did, a Colombian mascot is just going to cut the gold right off at the edge of the ornament. So that means you're going to need to draw this part carefully. It doesn't matter what color you use. The color will be going away entirely. And just going to stick with my soft pencil. And I'm an outline, there's gold glitter. I need a new color just so I can see exactly what I'm doing. I'm gonna go ahead and go to white. So there's thin glitter around these on the inside and the outside. So this is where you can cover some imperfections, loops. And this outer edge, I want the White to show just past that edge a little bit because that's glitter will stick out over there, which will be a good luck. It's kinda go over it one more time here. And then I have these sort of angled lines in here. The other areas where there's glitter are here and here. But again, focus on making sure you have the glitter kinda going over past the edge a little bit. It looks like there's some glitter dots. And you can do this however you want. This, this part can be any glitter design you want. There is a rule of glitter on this. Can stick pass the edges again. Same with this one down here. And then there's this diamond. It kind of curls Like that. All right. It looks like there might be a little swirly on here and a little line. It's hard to tell and then some little dots. And we're going to cover this in glitter. So basically anything that you have on this layer is going to show up as glitter. Suspend adventure time, figuring out where you went all your glitter. Don't go overboard. And because I use this brush which has some texture to it on this smaller size, I am going to duplicate that layer and merge them. And that just makes it a more solid thing there. Alright, I think we can go ahead and get rid of that for now. And we're ready to do our glitter. 14. Bonus: 3: And we're ready to do our glitter. So we're gonna go, it doesn't matter what layer you're glitter is on. So we're gonna go ahead and add, insert photo, grab the gold, and rotate it so it's covering your bulb. That's it. Okay, and then we can turn it off. So this part is simple, but it's sometimes hard to remember how you do it. So maybe practice it a little bit. You go to the layer that you wanted to have all the gold on. You can turn it off if you want actually. But you tap on the layer and tab select. And then you go to the gold layer, tap on that layer and tap copy. And you've copied that selection of those white areas. Now I'm going to add a layer and three finger swipe down and paste. And there's all your gold. So what it, what it is, it's right here. And it's identical to the white layer. But it's and copied from your gold. It's copied all of that. And it didn't take away from your gold layer. You can still use that. But it copied a section as the whole selection of this white layer. And then it pasted just whatever was on that gold. Now if you wanna do, remember a slightly different color of gold, you can always change in hue, saturation, brightness. So that kinda crazy. Don't necessarily wanna do super colorful, but maybe you want to make it less gold and a little bit more silver. Bump that down a little bit. It's kind of in between. If you want to do some gold and silver, you can just do the same process but on different layers. So you would do when layer where you're going to want all of your gold and then an entirely different layer where you're going to want all of your silver or whatever other color. And just do the same process and have different colors of gold. Or just have your gold, gold glitter. I mean, just have your gold glitter and then change the color once it's on here. All right, so now I just need to cap to add another layer. We can just go to our cap stamps. This lens kinda similar to the style that these are. They have a low. Here we go. Now parts, this is kinda tricky. I'm just gonna alpha Lockett And as do everything on the same layer. And again, you're going to want to look at reference photo and decide where your highlights are and where your dark areas are, and have fun getting all of those fancy DEP. Maybe make that a little bit more golden standard, that gray color. To do that, you're going to have to go ahead and choose that gold color. Dads very similar to our background. And then maybe go in doing your highlights again. So that's a downfall to doing your shading and highlights on the same layer is now you have to redo them. If you have that on a clipping mask, then you wouldn't have to redo. You would just change that base color and then that could be masked with heavier shadowing and stuff on top. And then of course you can add your string just like we do for all the other things. How about green? If you like it needs gold? Wu, You could do a gold. That's an idea. Can eat any layer. So you could do something with gold as well. By doing the selection. And you'd have to make sure that the glitter is lips. You need to move this glitter First. You need to cover that string. And now select copy. And then went off and paste. Now have a gold stream tool. That's kinda fun doing the backgrounds on these. 15. Your Class Project: Your class project is a complete illustration. I know you can do it. We've got tens of brushes. And it's just gonna be so fun to see where everybody can do post your projects in the class project section so we can all see them. Whether it's a hand-drawn luck or stamps. All of them are beautiful and I can't wait to see what you do. Enjoy.