Whimsical Digital Art in Procreate: Create Fun Lettering Artwork! | Diana McDermott | Skillshare

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Whimsical Digital Art in Procreate: Create Fun Lettering Artwork!

teacher avatar Diana McDermott, Digital Designs + Tools: mymcdoodles.com

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (60m)
    • 1. Introduction

    • 2. Gather Your Materials

    • 3. Create Your Sketch

    • 4. Adding Your Lettering

    • 5. Inking

    • 6. Coloring

    • 7. Adding Texture

    • 8. Adding Highlights

    • 9. Thank You

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About This Class

Learn how easy it can be to create beautiful digital artwork with no mess and no fuss - right from your iPad! In this workshop, we'll use the Procreate app to create a whimsical digital illustration with an authentic watercolor feel.

You'll learn the basics of Procreate (including some handy "hidden" features!), how to quickly create an illustration suitable for printing, gift giving, or home décor, and many different methods to add dimension, texture, and interest to your digital illustrations!

You will also have access to a custom brush bundle and a color palette created specifically for this workshop. Here's a preview of what you'll get for free when you register for the workshop!

To participate you must have:

New to Procreate? That's ok! Class project is specifically designed for both Procreate newbies and seasoned veterans!


Music courtesy of:

Acoustic/Folk Instrumental by Hyde - Free Instrumentals


Acoustic Breeze by Ben Sound



Meet Your Teacher

Teacher Profile Image

Diana McDermott

Digital Designs + Tools: mymcdoodles.com


Hey, there! I’m Diana of MyMcDoodles. Boymom, artist, & craft addict - living in Austin, TX. I love creating whimsical digital art and am excited to help you level up your skills!

Join the free Doodle Squad at dianamcdermott.com or come say hi on You Tube to check out more tutorials, artist tips, and fun art inspo! 

See full profile

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1. Introduction: Hi, I'm Diana, the artists behind my mic doodles. In this workshop, we'll create a piece of whimsical literary art using the app procreate on our iPads. Procreate has so many fun features and hidden tools and won't cover a lot of them in this workshop today, I'll give you my tips for coloring in your piece of artwork and adding lots of texture and fun elements. Especially brush bundle is available to students of this workshop. You're sketching pencils, watercolor brushes, texture brushes, some fun glitter brushes, and more. Don't forget your free color palette. There are so many ways you can use your final piece of artwork for home decor, stationary currents, no books, journals, the possibilities are endless. So enroll now and let's get started. 2. Gather Your Materials: Fitness workshop. The materials that you need are your iPad, the procreate app, your Apple Pencil. Download your free pressures that are linked in the document. And your free color palette has also included things or tools such as my artists Bob, MAP, Bear Lake, screen protector, which I really enjoy GMAT required for this workshop. Go to the project and Resources tab and click the skill share materials PDF document. Can you feel find the links you need to tell them your brush bundle and your colour power. And you open the files still Auto install into the procreate F and you'll be ready to go. 3. Create Your Sketch: So the first thing we're going to do is create a sketch. I'm going to use this perfect pencil. I have an 8.5 by 11 Canvas. You can make it whatever size you choose. This just isn't easy signs to print at home. And it's also kinda easily recyclable depending what you're going to use this project for. I'm going to go into my menu canvas showing game, added traveling guide, and turn on symmetry. I'm going to start to make my illustration by having it symmetric on both sides, which quickly fills in the white space. So I have it on symmetry and you can change your line to be a little darker or lighter depending on what you need in here and then push down. And you can see on my layer it says assisted. And that means that the drawing assist is turned on if you need to turn it off, which we don't want the object you're drawing on this side to be replicated over there. You just click on it and turn off drawing assist. And that's a nice, easy way to turn it off and on as you're working on your project. So we know we want ME littering to be kind of lake in the center and kind of circular or oval patterns and just gonna block off that little area there to give me some space for my words. So something like it's okay that it's messy. This is just our sketch layer. And then a new, we want to put some flowers along the top, maybe a fuel on the bottom and some things on the sides. So I'm just going to start by sketching in flowers in objects that I want to be duplicated on both sides. And this is just the time to have some fun with it. Keep it really, really looses. This is your sketch layer, so it's Malcolm and be like a whole tunnel detail. And I'm certainly not going to be perfect. Just to kind of get an idea of where you want your objects in your flowers and stuff to do something to fill in the space. Maybe we should put a butterfly there. Because that's something that's really fun to jar and really easy to draw when you have the symmetry tool turned on. Please. And I was traveling space pretty well. You can see most of the weight area has been filled in and people will be able to fill it in fairly quickly when you use the symmetry tool, because you only have to draw it once. I made a new layer for some of my elements that I didn't want to necessarily be replicated on the other side of the canvas like the little b and the lady bug. And that to loop that I just wanted at the bottom in the center. So you can either turn off your drawing assist if you wanted to add elements like that or make a new layer on top of it. I would suggest probably making a new layer because when you go to color or it'll be a lot easier if you're not having to keep track which things, the color in which things, not the color. The some other you want them to regretful, heated over on the other side of the canvas. So usually when I go to trace through this or color it, I would turn off the elements that are like the non symmetrical elements. So I don't accidentally start coloring it and then it ends up over here. But if you drew it in this layer, you have to constantly keep track, can check to make sure you're not accidentally doing that. So that would be my tip procedure, all of those things in a separate layer, then all the things you want symmetrical and their own layer. So now it's time to add in some lettering. 4. Adding Your Lettering: I do like to make some guidelines for my lettering. Otherwise it's really difficult to write on a straight line. My glittering tends to get like cricket. So the way I do it as a go back into my drawing guide again, under the Canvas tool, join guide is turned on. Edit joined guide. We don't want symmetry anymore. We want this 2D grid. And I just want it so I can view the lines. I don't want to turn on assisted drawing or else you'll only be able to draw in straight lines along this grid. We don't want that for lettering obviously, but I do like the guidelines. So I'm just going to turn on 2D grid without this assisted drawing, clicked on it and then click done. And now you have something straight lines. So in one layer I'm gonna make my guidelines. And then the next layer I'll do my lettering to make a perfectly straight line. All you have to do is draw your line the best you can. You can see how last Mott Street, if you hold your pen down, it'll make it perfectly straight. And if you want it to be perfectly horizontal, while you're holding your pen down, you just place a finger on the screen. You can see how it kind of snapped to be perfectly straight. So that's an easy lead and make some guidelines for lettering or when you need it, writes something and then you just erase them back out at the end, you just say recently or vector out. So I know A1 a few words to be larger. The quote I'm using is what a good day to be proud of all the progress you've made. So the word proud, it's going to be in this bigger area here allowed more space for it and progress. I also allowed more space for that. So those keywords will be larger and kind of set apart from the other words. And now we can make a newly take down my mind guidelines a little bit on the capacity. You can do with the slider here, or you could select that layer. But two fingers you tap on it and then you can just slide left and right to adjust the opacity. And I'm going to go on my new layer that's on top and put in some lettering. And I'm still doing it with this perfect pencil because it's just my sketch. You could streamline the pencil a bit. So you get a smooth lettering. Just tap on the brush and go into the brush studio on the stroke path you can streamline. So you can do it for any brush and it makes it so much nicer to write with. It's nice and smooth. You could also use the crisp edge lettering fresh. But for now, I'm just going to do my pencil since this is my sketch him and I do my final drawing, I'm either going to use this liner brush or the Crispin's fluttering brush. And they're both streamlined. I like to put in my biggest words first so I can see how to work my other ones around it. Since I know that this is one of my larger where it's I'm going to do it first. You could also use a font you like. If you don't want to mess around with making your lettering, you could just go in here and add text and then you could type it in. But I like doing me lettering some chard and by hand, I do all my words on a separate line, a separate layer so that I can shift them around to fill up this space and make it look nice. And you can see how it's going off out of the area that I allotted for. I'm not too worried about that because it's in its own layer and I can move things around and this is just the sketch. So I'm going to be moving things are out to get them laid out properly before I go in and do my final draft anyway. So once you have all your lettering in place, you can kinda move things around as you need to get it laid out just the way you want. You'll be able to see what things need to be more centered or skip around or whatever. And I think this needs to be a little thinker had to recenter lot of mine because when I write it, it will go out of the border or whatever business you're joining it all in individual layers. It's really easy to move it all around to get it laid out just the way you want. I'm pretty happy with this. I think the only thing I'm noticing is I think I would rather do you the words of the top, the kinda match these ones, the same type of lettering. So I'll go ahead and adjust that and get everything situated here and then we'll come back to start thinking about it. I just had it into little bit of a ladybug and some little flowers here to fill in the white space that was left after I got my lettering. I'll situated. And there might be a few more little areas we kid. We could add to hear. If you turn off your guide, your lines and also the circle. And if I had made it in a different layer besides my original layer with the illustration and be able to turn it off and kind of have a better idea of the weight space. And I mean, you could just go in with an eraser and take some of it out so that you can see where you might need to add a few more little flowers or little bugs or something like that just to fill in little bits of space, we don't even need to add anything too crazy. I'm just little elements here in the air will help fill in all that weight area and Michaela mace. But I also wanted to be so that it's readable and not completely overwhelming. So I don't want to overwhelm a design with too much like junk up on top of the lettering. So I kinda wanna leave a little bit of an area. So I'll probably just go through and add some little hearts and little bits here and there. And I think I'll add that after a ink it ends because my, these amount my final lines, so my flour might be a little bigger or I might be able to simulate shift things around when I'm thinking it into to fill in the space a little better. So this is our sketch. If you'd like to save your sketch, you can just export it. Now. I usually save my as a JPEG just so I have something to work from in case I need to if for some reason put it back in and have waved my initial sketch so that I can think on top of it or whatever. So I saved my int and then I am going to group all this stuff up. I can delete out those lines. Connected group on my lettering. That way I can turn it coffer on more easily and group these elements together so they can be turned off her arm. It's easier to work with the clean area for me like that to you is make a new layer at the very top. And I'm going to turn on my symmetry tool and just kinda trace over. But these flowers and stuff to get them all ink to the way I want with a nice crisp line. I'm going to use this brush that's called this bumpy liner. I really wanted to make a nice dark climb, but it also has a little bit of wiggle to the brush. So it's not like a perfectly smooth line. If you want a perfectly smooth line, you can either use this Chris branch weathering brush or you can go into the brush that came with your procreate under a calligraphy and grab this monoline. 5. Inking: Turn on the drawing assist or symmetry, backhauling EEG, just go into the Canvas, guide symmetry. And then you can just start tracing 1.5 of your elements and then the other side will automatically be duplicated. They also link to turn mine way down on the opacity so that it's not too hard to see what I'm doing. And don't trace elements that aren't supposed to be replicated. And both sides like this lady bugs and stuff. To make these digitally looking roses and flowers that are just more lucidly coming carefree. Mmc goal, if you need help showing flowers like this. I do have the pseudo school class on here for flowers and leaves and stuff. And you can find it under the classes that I'm teaching on the scale. And it's kinda like a fun little side project that's a pretty short class. Just something fun to do and afternoon or if you want to check out how to make suitably flowers. I like OK for you to share your projects. I can see your arc. So everything except for this butterfly, because I wanted to show you something. If you have elements that are going to be overlapping, then I like to do those in separate layers so that I can easily erase towel underneath what I need to without having to worry about drawing around like the leaf there. So I would put the butterfly and on top of the other way or just trace through and then turn on drawing assists for that layer so that I only have to draw half of butter phi. And then I'm just gonna go ahead and draw in his body and wings. And now when I draw his lane, I don't have to worry about it touching the line work for that flower over there. Because I can just go to that layer and erase out that leaf that's overlapping his way. And I kept my brush size the whole time so that all of the lines will be equal widths. But if you need to adjust it, just take note of what HIV was set like. This is 15%. I needed to be a little smaller just to be able to join these little tiny lines for his wings. And then I know I can reset it back up to 15% to make it consistent with the rest of the join once we go back. So now I can reset this back hip is at five tomatoes, small ions and 15 to make the thicker lines. And I like to use numbers that are easy for me to remember. Otherwise it's harder. Keep trying to get it to be the same way as the rest of the line where it's easier if I can just remember any easy number. And then I just go back in and erase how this leaf that's supposedly underneath of the butterfly and they don't have to worry about it's awkward to charter a drama around it. And then he reset back out and then you end up erasing maybe part of his weighing and stuff like that and it just ends up looking a little bit. So it's easier to do it that way if you have elements that are overlapping, just do them in layers and then you can easily race are what you need to. And then when it looks good, you just merge it down so you can just click those together. And that was an easy way to take care of that. So the last thing I need to do is put in the little bugs and maybe that weren't John with the symmetry tool. And we're gonna make a new layer for those because I don't want to draw on this layer with the drawing assist turned on. So I'll make a new layer. Can go ahead and add those in. And now I can kind of see two funding to put in a little bit more things to fill in the space around the words. Probably me to do that until I have my final lettering done just to make sure that that is really going to look like that. So I want this to be in front of those flowers. So I'm just gonna go back to the earlier part of this flower that's overlapping with my little baby. And even though this technically is behind them, it's really confusing and Link can't really quite see as stinger. So just gonna take out that to make it a little more clear. And I think that looks pretty good. So we can turn off our scheduler for all of this stuff. And let's go ahead and mark on our lettering. This is really overwhelming to me when I'm trying to also figure out my lettering. So I'm just going to take that down to make it a little bit later. So this is my lettering group. Since I'm happy with I'm calling to flatten it down so that I can turn it down a little bit too and trace over it without having to turn down each individual layer for each line of lettering. Meghalaya read on top of that. He grab a lettering brush, doesn't matter what color you are using right now because you can always change that at the end. So I'm gonna do mine and black. And I think of it induces crisp lettering, brush. And this one has some extremely intuitive. You need to add more. You can address it here. It's at 80%. You need to be set it few adjusted, and then you get that you like the settings you chose. All you do is go into About this brush and click this reset, all saved. So you can always reset it back to the original that you downloaded. So many keep mine streamlined. Yeah, about 80%. Go through and tree smell lettering. So I've got it set to 25%, which looks like it's pretty good science to be consistent with the line work for the illustration. So I'm gonna go with that. And again, I'm going to do all of my lettering in separate layers so that I can move it around if I need to. It's much easier to set it up that way for yourself than they have to go back through and try to select certain elements from here and then move them around. So it's better just to set it up for they're all individual layers. Merge the data. So I think you need to do is make these little banners. I don't want that to be touching that. So it's not going to be exactly like the sketch and that's fine. And I do want this one to wrap around. The p will work on those two things. Separately. Of course, for a soldier on my banner and then an, a new layer. I'll do the lettering in that way it can be resized or whatever switched around if it needs to be on a country so rude if I need to do another pass through to get it to look the way I wanted to. Lettering looks way too. So I'm going to use a smaller brush to keep consistent with the thinner lines of used throughout the drawing, I'm getting to 5%, which is what I used before. And stick with that. I don't like to use a whole lot of different weights of pen. Just like in real life, if you pick up this pan and you use it, and then you grab another size and you go back to this. It's going to be like those two sizes throughout the drawing. You're not going to have some 610. The way it's going to be consistent throughout your drawing. So I like it to be the same way for my digital art. So I'm going to use 5% and try that again and see if the literary looks better in the banner. And already I can tell it's much better. It's going to be easier to read and there's more whitespace, so it's not like all squished in there. Cannot be the same thing down here for this little banner. And then we'll worry about erasing are what we need from the word proud. So first, can you draw may be an Can I was showing with 15% in the newly, I'll do my lettering again and that was 5%. If you're happy with your brings in your banner, you can clip it down if you don't mind having a lot of layers, which I don't really mind because I grew up mine into folders. Then you could just leave it alone, keep it as a separately. And then you'll be able to manipulate things a little bit easier than if you write it down, but it's up to you. Okay. So now we need to move her be enters and the police in wholesale. Ebay's out. The part of the word proud for Banner would be wrapping around. So first I'm gonna get this woman says you lined up the way I went. So I just select the both of those layers by tapping and swiping to the right with one finger to select an additional one. And then I use this arrow tool up here. I don't necessarily need magnetics, honoree now because I don't need it to smack a perfectly straight line or anything like that. So I'm going to turn that off so I can move it around a little easier. I think it looks good. You have to zoom out to see the overall picture. If it looks like it's in the right place, I think that looks pretty good. And I'll add in a couple of little elements around to kind of fill in this void here. And then let's put this one up here. So I'm going to go those two layers and then to scoot over a little so it's not touching that went. But I also kinda wrapping your brown that may be something like okay. And then you could see how, if this was actually on the letter, the p would talk inside the Ribbon. Hadn't helped wake. That seems like it's maybe in particular but it wouldn't rap around, like see how this part of the piece sticking out if you racist part out than it looks on because you have a portion of the letter just kinda like coming out of nowhere. So I like to make sure it's lined up exactly the way it would be in relief. And then I'm going to erase part of this letter P. That would be behind this banner. So something just like that. And it's hard to see right now, but I think I am going to change the color of my lettering at the end. So then this will be more obvious and it won't look like this model, mess of all these black lines kind of like intertwined. Okay, so we have our lettering set up. I think what I'll do is go ahead and ink in a little bit to fill a void. You could fill it only to the edges. If you fill it in as your hand will be back to color. 6. Coloring: So we're back for coloring. I fill in a little bit of the weight space or a family picture, the lettering in near the corners just to sit a little bit more, not habits so concentrated in the center. But you could certainly make like a wreath around your lettering or just leave it we're open. So now we're going to get started coloring. For coloring, you have a few options. So if you look in the pack that came with this tutorial, there's a whole lot of different brushes if you wanted to do more of just flat color. And I'm gonna go with this bumpy liner brush, which leads sound just completely flat color. And it has like a little bit of a wiggle to the edge of the brush. But it's not like a glazed defects. You can go over talk as many times as you need to and it doesn't alter your color. Another one would be the soft chalk. It's a little bit of texture to it, but it's also a brush that you can go over top as many times as you need to change the color of your drawing. But it will respond to pressure. So if you go away, it has a little more texture. If you need more solid color, you can just press harder or go over a few times. If you want more of like a watercolor type of effect, then I would use this watercolour brush. So this one, you have to color in one pass. And it'll give you a nice texture to your drawing. And if you want to go over it again, you can see it pleases over time. If there's areas where you want it to be like that, then that works well. If you don't really want it to be so obvious, you can grab the smudge tool and use this watercolor and Blender. And this tool works well. He kinda just tap on the screen in the areas you'd like to blend out. His early and they swayed to blend. These areas are really obvious section where you glaze different top. Maybe you want to kind of blend it in a little more. So if you wanted it to be just one solid color, you need to color it with one pass delivers Japan. And if you need to color in multiple passes, or if you wanted to change colors in between to kind of add another little bit of interests of a real watercolour brush. You can do that and then grab your smudge tool and just tap over top of your colored area. And it kinda helps blended in and make it look a little bit more soft. You can also pull weight into it. So that would give you more of like an authentic watercolor feel. You go outside the lines when you're smuggling link data economics just to clean up the edges with one of your more, one of your liner brushes and other textured brush. This roughed up fresh. It has a lot of texture, but it kinda goes on colic a crown almost. So you can work with it really big or you can make it small and getting little areas. It also want presently lays defects for you can build up how solid you went your color TV by going over top. To kind of fill it in. The lettering brush would work well for coloring to if you just wanted a clean, kinda like almost like a marker in a just fill in flat color. It's naturally streamlined. The when you download it as streamlined. So you can just go in and turn the streamline down so that you're more able to cover with it. When the streamline is turned off, it's more for actual lettering. But if you take it down, it's really easy to color with and it creates a nice, solid color that goes on flat. Lynn recoloring. We're going to color underneath the outline that we've already created. So you need to make a layer that goes underneath this. And then I kept my layer that has a non non symmetrical elements separate. I'm going to turn that off what I'm coloring, my main elements that are duplicated on both sides just so I don't accidentally colors something that's going to replicate on the other side that I didn't want it. So it's easier for me to just turn them off and use this one as a guide and then went to send the color the rest. I'll just turn that one back on. So I'm gonna make a layer underneath my outline. You can turn off your lettering to fit, becomes kind of distracting. And then gravity coloring brush, you know, had a company you don't have to watch me do it and color it the way you want with type of texture, then you want it. And I'll meet you back here to add some more texture in highlights and details. When you're coloring. Coloring you're symmetrical elements. Don't forget to turn on your drawing assist. You don't have to colour the entire picture. You can color half unless you wanted it to be different colors or something like that, then you can certainly keep it up and just color the whole thing like you normally would. But if you want to save some time and if you wanted to look the same on both sides, use the symmetry tool to manage. I finished coloring all my floral elements, and now I need to add a little color to these banner. So I like to use this flame flow and make little lines semicolon like a house, like a little bit of a shadow. I'll make Earlier behind my lettering folder, which includes that banner. And I'm gonna grab this crisp shuttering brush. He could also use this zombie liner and make these little lines just so long. And then underneath here where there will be a shadow. And it just makes it look like are interesting, I think. And then I'll do it up here too. I think they're trying to make my lettering and different color besides what I wanted to take my lettering folder and duplicate the whole folder and then flatten it down. Now I have all of this in one layer. I wanted to try to see what it would look like if you made it this kinda like teal color. So you can see is a layer over top. And it's going to be a clipping mask. Crowd, this teal color. If you wanted to be all one solid layer, you can destroying the color and spill it into this entire layer. And you can see what your lettering look like as different colors. Pink, kind of pretty to choose whatever Cleveland eight, keep it black. Taught my banners to stay black though. I'm gonna hold down two fingers to select it or you can press, you can tap it and click select, and then go up to this pink layer. Either swayed three fingers on a Prescott, we're describing Eraser tool and color over it. And that will erase out what you've selected, which was that banner. And I think I like that. You could also just duplicate the layer and take it out of that folder, pull it up over top of the pink layer here. And we want them to be tucked inside. There. Needs to be raised. So on the top of the banner. So another way you could do that is just select the lettering, cranberry research, but we need to choose the one that I'm here, this one that says proud. So select that. Go up to your banner and you're only erasing out what you've selected from this layer that says proud. So anyway, CR, even if you go over this direction, it won't erase anything else. And that's an easy way to make sure you're erasing what you think, you're erasing your what you really want to erase. So let's see. So I think I like the pink. You could try it with different colors if you'd also try it with your watercolor, your watercolour brush or the blender. Incredibly bad in a little bit of soft color to the layer that's put down and see what it looks like. Something like Alex kind of pretty you can kinda play around with this to see what you what do you like. And you can see the problem with the way I did. That is now I'm being filled in by this. But if I go in and just duplicate it and pull that layer on top of the clipping mask. And I don't have to worry about it. Changing colors are me and when I'm coloring this layer that's cooked down, so I think I'm gonna make this pink up here too. So that's in this layer that's clips down, which is some pink and filling those birds. And it's kinda fun to play with clipping masks because of how easily, how quickly you can change the look of your lettering or whatever you're flipping it down to make it look. A lot of different ways you can save different versions, seems different. Layers. Really customize it to make it look just like you want to do is go through and add our texture. 7. Adding Texture: Now it's time to add a little texture to this image. You can certainly leave it flat like this if I link to, and just like a little bit of texture may be a little bit of variation in the pink color. So it looks more like it's maybe watercolor p. So I am going to clean up my layers first. I have a lot of layers here that I don't necessarily need to be all separated. And it'll be easier to add your texture if all your color layers are clipped together and everything like that. So I want to keep my outline layer separates. I'm going to keep those together and I'm going to flip them, merge them down. So you can either grab them and stack them together or you can just click and then on the layer and then choose merge John rate here. So I have my outline all in one layer besides the banner ribbons. And then my color. I would like that to be in one layer. I don't need it to be separated by symmetrical versus non-symmetric whole elements anymore. So I'm going to clip those together. And then we have our lettering for beginners. And then base lettering, that's the black lettering that we flip the color dot on to someone to leave them alone. For now, I'm gonna make a layer on top of my, my color. For the textures, we can use these brushes that are called BRAF stop. We can also use this soft wash that alcohol water in a blender to kind of plan things as we need to. I'm going to start with this one called rough stop, making a layer on top of my color layer. And I'm going to set it to color and burn. Thanks a lot. I'm going to make another layer on top of that one and set it to Screen. And that's going to lighten things and keeping the same gray. But I think we need to turn it down a little bit, so I'll put it down until around 30% or so. And just go thru out the picture and tap that brush here in there, just randomly to kinda like remove some of the color. And then that way you have different levels of saturation and color throughout your picture and it just makes it look a little bit more interesting. Cursors always like a US. Autonomy plays for. Flat, plain, clean looking color too. So it's really up to you and how you, when your r to look and how you're going to be using it. And then we can turn down the capacity we need to either layer to make it look a little bit less intense to something like that. And then I'm gonna take my color, they duplicate it, swayed and press duplicate. And then I'm gonna put them both at about 50% opacity. And then you can use, There's a research tool with the alcohol water brush. And I'd like to turn it all the way up to make it as big as possible and just tap that over your image and it'll erase little bits and pieces out and say So how has not been amazed at all. And then you have layer on top of that that has a little bit of the image of a sound. And you can see, if you turned it back up to a 100%, you can see what's been removed. Then you can keep the one that has all of the color, just like a little bit less than a 100%. The one that has the pieces removed can be, could be all the way up or you could reduce it kind of depending if you wanted to look more like C, It it out or if you wanted to have more intense color. I like to keep one layer that has all the bits and pieces erased all the way up. And then the layer underneath that has the color of the full color and keep that one and that like halfway. So you can take the layer that has the bits and pieces, erase and duplicate that. And then just take the Select tool on free hand. And you kinda just like pick up bits and pieces, hilly area and then TopHat dot. It'll select that area much, you continue on and select More areas. So I'm just grabbing bits and pieces here and there. When you have all of your pieces selected, press feather and just feathered, maybe like 5% or so, and just softens the edges. And then you go to this fringe, this magic wand tool. And she's hue, saturation and brightness. And you can kind of adjusted just a little bit. So it has some variation in it, but not too much because you don't want it to look completely unrealistic or too drastic. So pietas increase that a little bit where you could decrease in a little bit. Takes a hue a little bit to the left to right. Just so it looks like we'll paint. We kinda like drop in the color and it spreads. And maybe wait, and then a little bit im kinda play around with these sliders. So thank god, it's really subtle. But it adds a nice effects because then it looks like it's not just one solid color that you placed in there. So I'm gonna go through and do it again and we'll grab a little bits and pieces. These are totally random, feathered out like 5% or so. And then go to the magic wine hue, saturation and brightness. And maybe this time I'm going to take this saturation down a little bit and the brightness up a little bit. So there's whiter areas as well, not just all saturated dark areas. Some of the pain right here. You can kind of see how much I am adjusting it. I don't want it to be anything too drastic. Maybe something like that. Let's see how that works. Kinda changes the colors of your piece a little bit, but they answer a lot of variation and makes it look more like maybe it's something you did paint with real watercolors. And you can always take it down. And the capacity or put it up all the way into hell. And just things here too to make it look the way you keep going through and playing around with that a little bit. And adding texture. Maybe you put the and you may need to turn your Color Burn back up a little bit, depending how much of your elements resistor adjusted with the hue saturation and brightness tool. Do you think to add even more, you could go through with your alcohol and water brush. So I'll choose an alcohol. What are I just grabbed a y. Or you could grab fully, fully Cray and choose screen are colorblind and just kinda tap the brush on your design. You can see that as an interesting effects as well. And all of these things together will help it look more realistic. If you wanted to look like watercolors. And you could do a layer of clear burn also. Ok, so I'm happy with that level of texture and variation. Next up we'll add a little bit of detail and some highlights and subtour lettering and illustration. 8. Adding Highlights: It's always nice to have some details at a tier lettering to make it with a little bit more interesting. So what I like to do is create a shadow kind of perfect for the different color over all my letter. Then I'll add in some highlights with SAP like you would do maybe with weight gel pen on watercolor design or lettering. So I'm going to create a layer on top of the lettering elements. Pink. Add in like a shadow along my lettering, Soviet crisp edge lettering, brush. And I'm just gonna go through and had a stroke to the side of all of my letters. Just to make kind of like a shadow. And you can do it from depending which direction you want your lights at becoming. You can do it on the side. Or you could do it on, not laugh, but just be consistent throughout the whole thing. So I'm gonna do mine on the right hand side of each stroke and underneath the whole thing. So that's for my highlights, shrew my words and then I think that goes through the illustration and some white highlights here in the air, just like I do in real life. But some white chalk pen with watercolors need to make a new layer that is on the very top to be even above my outline later. And I'm gonna stick with this chris Spanish lettering, brush with white paint. And just go through and add my little bits here and there. I think we have all of our white highlights here. I've also given you a clear brush, so appealing to go through and add a little glitter. That's always a nice touch. Maybe add a little bit in the new layer. Crush them. Are you color over top of areas you've already created and cancel a little bit more shimmer, so it'll keep getting more and more sparkly The more you color with it. People do is kind of Italy or over the very top to make it look like real paper. So we'll make a hollow me at the very top. In green color, in your color palette, this watercolor paper texture. You're going to turn it up. And then color through your entire paper with one paths. They can see how it adds just a little bit of texture to background. So it looks like real people. If you wanted to be more intense, you could go through it again. But generally one passes good. And if you wanted to add a little bit of a wash or spotter to the background. I would do it in the very bottom behind all of your layers. And you can use this soft wash, subtle squatter, maybe like this blue or this teal color. Any turn it up all the way and you can just go really lightly and it'll add a little bit of a wash to your background. You can turn it down a little bit if it's too much or keep it hardly Up. And there's also some squatters in there as well. So if you and I have a little bit of paint splatter to finish up here piece. You've got a squatter brush there too. Who can use it as an eraser tool as well for the wash. Because I want the center of mind more so I can see my rating. And then kinda like a vignette of color out to the edges. So there we have a full illustration, looks like a watercolor kinda feel in, you've learned heavy create textures, Highlights, Shadows, and more realistic watercolour paint effects to your artwork. So I would love to see what you create if you posted in the class project.