Winter Illustrations in Procreate + 27 Brushes and Stamps | Liz Kohler Brown | Skillshare

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Winter Illustrations in Procreate + 27 Brushes and Stamps

teacher avatar Liz Kohler Brown, artist | designer | teacher | author

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 52m)
    • 1. Winter Illustrations in Procreate

    • 2. Downloads and Resources

    • 3. Sketches and Color

    • 4. Adding Pattern and Decoration

    • 5. Texture and Format Options

    • 6. Designing a Wreath

    • 7. Drawing and Shading

    • 8. Lettering and Format Options

    • 9. One Point Perspective

    • 10. Coloring Your House

    • 11. Creating a Tree Brush

    • 12. Layering and Texturing

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About This Class


In this class,  you’ll learn how to create three different styles of winter illustrations on your iPad in Procreate!

When you watch the class, you’ll get all of the brushes and stamps I use to create my winter illustrations, including a set of four tree brushes and two snow and fog effect brushes that you can use to fill up your canvas with wintery textures and shapes.  The set also includes nine ornament brushes and several drawing and shading brushes that we’ll use throughout the class.


First we’ll create a playful illustration of winter related objects like sweaters, mittens, coffee mugs, or whatever objects fit your personal style.  I’ll show you how I like to use clipping masks and texture brushes to add depth and texture to my illustrations. Then we’ll look at a few different ways to use the drawings as single images, illustration series, or repeat patterns.


Next we’ll combine winter plants in a playful wreath surrounding some hand lettering.  The workbook that we'll use in the class will show you how to draw my favorite winter plants, and show you how to add texture, highlights, and shading to the plant forms.


I’ll give you a few different options for using the plant forms in compositions, so you can choose to create a wreath, bouquet, or just let the plants peek in from the edges of the canvas.


Last we’ll create a winter scene combining cozy cabins and snowy hills with snow textures and rows of trees.  You could illustrate an imaginary cabin, or you could depict your own home or a friend’s home to create the perfect handmade gift.  I’ll show you how to use the tree brushes from the downloads set to fill up the landscape on your canvas, and we’ll look at the easy steps to make your own unique tree brushes.  We’ll finish off the composition with tons of snow, fog, and texture to give the illustration depth and playful movement.


These illustration styles are perfect for sharing on social media or your website, or for offering as prints for sale.  They also make beautiful gifts or greeting cards, so if you’re looking for ideas for a handmade gift, you’ll find tons of them in this class.


All you need to take this class is your iPad, the app Procreate, and a stylus.  I’ll be using the Apple Pencil, but you could use any stylus or even your finger.  So, let’s start creating some winter illustrations!

Music in the intro video: Seasonal by Silent Partner

You can get the class downloads here (the password is shown at the beginning of the class).

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Liz Kohler Brown

artist | designer | teacher | author

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1. Winter Illustrations in Procreate: Hi, everyone. I'm [inaudible]. I'm an artist, designer, and teacher. Today, I want to show you how to create three different styles of winter illustrations on your iPad and Procreate. When you watch this class, you'll get all of the brushes and stamps I used to create my winter illustrations, including a set of four tree brushes and two snow and fog effect brushes that you can use to fill up your canvas with wintery textures and shapes. The set also includes nine ornament brushes and several drawing, and shaving brushes that we'll use throughout the class. First, we'll create a playful illustration of winter related objects like sweaters, mittens, coffee mugs, or whatever objects fit your personal style. I'll show you how I like to use clipping masks and texture brushes to add depth and texture to my illustrations. Then we'll look at a few different ways to use the drawings as single images, illustration series, or repeat patterns. Next, we'll combine winter plants in a playful [inaudible] surrounding some hand lettering. I'll show you how to draw my favorite winter plants and I'll show you how to add texture, highlights, and shading to the plant forms. I'll show you a few different options for using the plant forms in compositions. You could choose to create a [inaudible] , a bouquet, or just let the plants peak in from the edges of the canvas. Last, we'll create a winter scene combining cozy cabins and snowy hills with snow textures and rows of trees. You could illustrate an imaginary cabin or you could depict your own home or a friend's home to create a perfect handmade gift. I'll show you how to use the tree brushes from the download set to fill up the landscape on your canvas. We'll look at the easy steps to make your own tree brushes too. We'll finish off the composition with tons of snow, fog, and texture to give the illustration depth and playful movement. These illustration styles are perfect for sharing on social media or your website, or turning into a gift like an art print or greeting card. All you need to take this class is your iPad and the stylus. I'll be using the Apple Pencil, but you could use any stylus or even your finger. So let's get started. 2. Downloads and Resources: The first thing I want to do, is show you how to get all of the downloads and resources that you'll need for this class. You can find a link to get to the downloads and resources page on the project section on the Skillshare website, not the app. Once you click on that link, you'll see that you need a password again to that page and I'll show the password on screen right now. Once you get into that page, you'll see a list of downloads under the image and the first item on the list is the Procreate brush sets. You can click and hold on that and tap open in a new tab. I'm using Safari here, so this may be a little bit different in another web browser. It'll ask you if you want to download the brush set and I'll tap download and then depending on the web browser you're using, it may pop up with a screen that allows you to choose an app. Or you may have to tap the little downloads button over here. I've tapped the downloads button and now I'll tap on that brush and it knows that this is a procreate file, so it'll go ahead and open it. Another browser might ask you to choose an app and you can just choose procreate. Once you open any document, you can tap on the brushes menu and you'll see the brush set on the left and then all the brushes here. Every brush I'll be using in this class today, you can find in that set. Back on the resources page, you'll see the next item is the Pinterest inspiration boards. I'll go ahead and click on that and if you have the Pinterest app, that should automatically open the app for you. If you don't have the app, it'll probably open in your web browser. As you scroll through this inspiration board, you'll see that there are so many different ways to express the idea of Winter, snow, Winter plants, winter animals, so this is just a great place to get an idea of where you want to start your composition. Of course, we don't want to copy any of these people, but this is a good place to just get some ideas. Like, perhaps you want to do something with lettering and you think, maybe I should put some lettering inside an ornament, so I wouldn't take anything else from this piece other than that idea. Let's put some lettering in an ornament, or maybe see some Christmas tree shapes that you like and you think, maybe I'll do a lot of different Christmas trees and fill those with pattern. You may also just see a color palette that you really like. Maybe you want to go with something light and pastel, or maybe you want to go with something really dark and kind of stormy. As you're scanning through this list, you can start thinking about what styles speak to your personal aesthetic. It might be something more simple like this piece with single color leaves, or you may want to go with something much more complex like a detailed illustration with shading and people and houses. In the class today we'll look at a couple of different options that range from simple to more complex, so you can try them all or you can just zero in on what you already know you like. Now that you have some ideas to get you started, let's go ahead and take a look at the last resource on the downloads page, and that is the workbook. I'll be referring to this throughout the class. I have some color palettes, some ideas and platforms in there for you. When I say workbook, I'm just referencing this file. If you have an iPad Pro, you should be able to download this first one and then for non pro, try the smaller file, and then an older iPad may need this even smaller file. Try one of those based on what iPad you're using and you can just click and hold open in a new tab, same process we did before. Yes, I want to download and then tap that downloads button. I'm not going to do that because I already have that downloaded here in my procreate gallery. One thing you'll notice when you download this file into procreate, it'll show up at the very top of your gallery rather than inside a stack, so you'll have to go back to your main gallery to find that workbook. Once you open that workbook, you can open the Layers panel and you'll see that there are a lot of different layers and each one is like a new page. The first one is the cover, the next is some illustration element ideas which we'll be using for the next project. You'll see some quote ideas for the lettering projects we'll be doing and then some winter plant ideas for the reef project we'll be doing and then the color palettes. I've chosen some color palettes that I think work well with winter compositions. Of course, you can use any colors for these projects, but this is just a place to get started. You may want to use one of these sets, or you could just use some of these colors. If you'd like to just adjust some of these slightly, you'll see that you can open these layer groups by just tapping a little arrow beside the name of the group. Let's say this for example, I want to change the color of that, so I'm going to tap on that layer, adjustments, hue saturation, brightness, and then play around with the color. That's one way to customize these so that your colors are a little bit more unique than just what you see here. When you're happy with some colors, you can tap on the pallets, tap plus to create a new pallet and let's just call this winter, then you can just tap and hold, tap on that pallet and just start adding these colors to your pallet. I always do this as my very first step before I start a composition. I think it's important to choose colors that work well for the concept of your composition, so I'm thinking about winter here and I don't want to have to think about that as I'm creating my sketches and my drawing, I want to leave color to be its whole own process, so I'll choose those now so I don't have to think about color as I create my composition. Now that you have all of the brushes, some inspiration, and some color, let's go ahead and get started with sketching our first illustration. 3. Sketches and Color: For this first project, I want to show you a simple illustration style that you can really scale up or down based on how much time you want to spend on this project. The first step is choosing some illustration content. I added some content ideas to the workbook. Let's get started by taking a look at that list. I'm on this second layer of the workbook here called illustration element ideas, and I have a list of a few ideas for what objects you could use to get started with this composition. I'm going to use sweaters, but there are so many other ideas that you could use express winter. Things like pajamas, snowflakes, ice skates, ornaments, mittens, and these are all really simple shapes to create. Choose one that speaks to your personal style or come up with something else that isn't on this list. Then I'm going to create my new Canvas. I'll click the Plus symbol. Click Create Custom Size choose inches as the measurement. I like to work at 10 by 10 inches at 300 DPI. That works well for most of my uses, but if you know, you're going to print this out at a different size, of course, you'll enter that size here. Click Create. I'm going to start by sketching my sweater shape. I'll get black is my color and in the winter illustration, brush set I'm going to use the fuzzy edge liner for my drawing. I know I want to get a lot of different sweater shapes. Usually start by just doing a quick image search. I'm just going to type sweater images, and then scroll through and look for a lot of different shapes. When I find one I like, I'll press the Home button and the Power button at the same time. I'm not going to copy any of these, I just want to get overall shapes like an open sweater with a longer body than the sleeves, and then maybe a thicker sweater with a high neck line. I'm just looking for ideas here, I'm not looking for exact shapes to copy. The searches help the sketching process go a lot smoother. You can just do one, or of course, you could do a lot of different sweaters. I'm going to start with just one. In the very beginning I like to draw using a reference. I'll click the Home button, go to my photos app, and then find the sweater that I want to use as my reference. I really like the sweater. I think I'm going to leave the buttons off, but I just like how the body is shorter than the arms. I'm going leave that up in the photos app. Open, procreate, and then slide one finger up, grab that photos app and put it over on the left, and then zoom in. I can use this little bar here to just scoot that over a little bit so it doesn't take up quite so much space. Now I can start sketching because this is a symmetrical object, you could use symmetry here. I'm going to click the tool symbol Canvas, turn on the drawing guide, edit drawing guide, symmetry, and then make sure the vertical symmetry is on. Just tap done to set that symmetry. Now I can start sketching. I always start with just an overall geometric shape. It's like a box. I don't want the sleeves to go down like they are in the picture, so I'm going to make them go out like this. I always start sketching with geometric shapes because I just think it's a lot easier to get the proportion right when you do that. I don't worry so much right now about these curved neck line or the curve shoulders. I'm just trying to get the proportions right. The sleeve to base of the sweater ratio. Now that I have that basic ratio down, I can start sketching the more curved angles. I want this shoulder to come down in a curved motion. I want to have that nice thick color along the neckline. I'm sketching in little details. I'm not thinking so much about every little part of this sweater. I'm just thinking, where do I want the ribbing to be? Where do I want the neck line to be? How long do I want the sleeves to be? Just little things like that adjusting here and there. Take just a minute to play around with these proportions. I want to give this a little bit of a rounding at the bottom because in real sweater isn't so stiff, it has more of a flowing feel to it. I'm just going to add some of those little curves just shows the fabric moving in and out. I'm happy with that. I'm just going to swipe this over to the left, that reduces battery pretty quickly so I try not to use split screen when it's not necessary. Now I've got my sketch. I'm going to start working on color. So I've created my winter illustration color palette, just like I showed you in the last section. I'm going to start with this bright orange. I'm going to create a few different sweaters in several different colors, and some of them are going to be in more orange, bright blue spectrum, and then the others are going to be more red and green like traditional holiday colors. You can play around with a limited color palette, maybe just choose three or four, or you can go a little wider with your color range. I'm going to start by just turning this into a solid block of color, and I'm going to grab this fluid ink pen and make my brush a little bit bigger. I do the sketch in the symmetry, so it'll be easy to just fill the color with symmetry as well. I'm just going to click on my new layer and click drawing assessed, and now when I draw on the left, that repeats on the right. I'll go to my sketch layer and just make that semitransparent. It's not quite so in my way Just take a minute to outline this entire shape. Now that that shape is outline, I'm just going to do a color drop to fill that in. Now I want to drag my sketch layer above this filled layer so I can still see my sketch, and I want to start adding some details to the sweater. I'm going to create a new layer above this orange layer, and I'm just going to choose a color that's a lighter orange. Just dragging up on the color wheel here to get a lighter orange in that same spectrum with that same fluid ink brush. and we're going to reduce the size. Just get a thin brush here. I want to add some ribbing to the sleeves. I'm going to start by just creating some lines here, and when I want to create even markings, I'll do a half and then half of that and then go through and half all of those. That's one easy way to get semi even lines. But of course, we don't want these to be perfectly even because this is a loose illustration style. Don't worry so much about things being perfectly spaced. If we wanted them perfectly space, we could use a program that space them perfectly and that's not really the point here. We want a hand-drawn look. Now I'm just going to circle these with a slightly wider brush to get that ribbing look that you see on the ends of the sweaters. I'm trying to stay within the orange because I know I'm going to come through and erase some of the orange and I just want the lighter orange to be totally visible. I don't want to erase any of that. I'm just staying within orange solid shape here. I'm happy with how that looks. I'm going to repeat that same process on this side. The bottom ribbing and the top ribbing. I could use symmetry here, but honestly, I don't like things to be too symmetrical when it comes to these more loose illustrations because then it just ends up looking a little bit fake. For a lot of cases, I'll start with symmetry just to get my overall shape balanced and then when I get to these decorative elements, I do everything free hand to keep that handmade look. 4. Adding Pattern and Decoration: Now, that I have all of that rubbing taken care of, I can go ahead and make my sketch layer invisible. I just want to remove all of these little triangles, this little overlay area where my remain didn't quite meet the edge. That's also going to help change the shape of my sweater a little bit to give it this nice ribbed edge. Before I start erasing, I want to make sure I turn off my assisted layer because I didn't do the ribbing with symmetry, but the orange is in symmetry. If I start erasing on this side, it's going to affect this side as well and it might not match up with the ribbing. I'm just going to tap that layer one time and turn off drawing assist, and now I can just start going through with the same brush, fluid, ink, the eraser, and just clean up all those little bits. Next, I want to add a little bit of text to this. I'm going to create a new layer above my other layers. This is a good time to start naming your layers if you'd like to stay organized with your naming. I'll go ahead and do that now, so this is my ribbing layer, and then I have my sweater layer and my lettering layer. On that lettering layer, I'm just going to get black as my color and sketch using the fuzzy edge liner. Just sketch my word that I want to use. If you do use some lettering, of course, on a sweater this size you probably want to go with a shorter word. Now, that I have just my overall sizing, I'm going to create some guidelines. Just draw a line and then put those two fingers down to use quick line. Now, I'll create a new layer. I like to do each of these in different colors just because it's a little bit easier to see. I'll get white as my color, and I'm going to use the dual pencil here. This is one way to help your lettering edges stay even. I'm just going to set that size, and I like to just test it out on a few letters when I'm choosing my size before I commit to anything. I think that looks good. I think that's a good size, so I'm going to stick with that. I'm just going to freehand these letters here two fingers down to get the top of that J straight, and of course you could trace a font here. You could find some lettering online and trace it but I think the handmade lettering just looks so much more interesting and eye-catching, especially when it has just a little bit of that wobbly handmade feel. If you on the other side of your Y to be at the exact angle as this side, describe that selection tool, select it, drag three fingers down, copy and paste. Flip horizontal, makes sure magnetics is on, and then just drag this over. Now, we have a symmetrical Y. I also want to add some interesting little serifs on the edge of these. I'll just get my fuzzy edge liner brush and come through and just draw. Let's get black as the color so that's a little bit easier to see. Just draw some little serifs and these don't have to be perfect, they don't have to be perfectly aligned. This is a handmade piece, so it's okay to give it a little bit of a handmade feel and not worry so much about perfection here. I can make my tags sketch layer invisible. On a new layer, I'm just going to use a pure white as my color, so it's really easy to see. I'll grab that fluid ink as my brush, and I'm just going to fill in using these guides that I created to get this lettering nice and even. With this new quick shape tool in Procreate, you can just draw a circle and then move your brush around before you release to get an almost perfect O shape. We can do that for the interior too and then just drag to fill that in. Now, I'll make all those lettering guide layers invisible so I can only see my text and then I can choose a color for that. I'll tap adjustments, recolor, and then I just seem to get my little cross hairs on that lettering. Then I can start playing around with colors. I think I'm going to go with that turquoise color, and I liked that turquoise color so much. I think I'm going to go ahead and use it to add some stripes to my sweater. You could do this as a symmetrical layer or you could just do this free hand. So I'll do this as a symmetrical layer. I'm going to use that same brush, fluid ink. I want to create some stripes that goes straight across the arms on my sweater like this. Part of the reason I'm doing this is because one of the rules of design is repetition helps create a solid composition. Because I used turquoise here, if I can repeat that turquoise somewhere else on this composition and just makes it look more unified. I'm trying to spread that turquoise out a little bit throughout the piece, and of course, I don't want my stripes to just overlap my sweater like that. I want them to be cut off at the edge of the sweater. What I'm going to do is drag the stripes layer right above my solid orange layer. I've got these stripes and then right under it, I've got this. If I just tap on that blue stripe layer and tap "Clipping mask", you can see that it clips it so that it's perfectly cut off on the edges of the layer below it. You can always use that clipping mask to affect the layer that's below it and nothing else on the canvas. I can do another clipping mask layer for some more decorative elements too. If I just click plus to create a new layer, tap on that layer and tap clipping mask. Now, I've got tow clipping masks above this solid orange layer. I think you can do an unlimited number of clipping mask, but if I typically do three or four for a usual composition. Now, I've got my white as the color. I'm on that new clipping mask layer. I'm scrolling down and grabbing this snowballs brush, and let's bump up the size of that a little bit. Now, it cuts off these little snowball shapes right at the edge of that orange. I think that snowball shape would also look nice as a decoration above the lettering. I'm going to create a new layer, reduce my snowball size a little bit, not too much. Then just trace over my lettering, and I'm on a layer that's just above my lettering here. Just like we did to create the O, I can use quick shape to make that snowball chain a little bit more of an O shape. I think Os are the hardest shape to draw, also it really helps to have that shape there. Now, we're doing the same thing where we reference that snowball shape in another area. Why not do the same thing, going back to that clipping mask layer, with these smaller snowballs, we can accent the blue stripe. As you can see, I'm just playing around with pattern here. I'm just using several different patterns and shapes and trying to repeat them in different areas around my illustration element. 5. Texture and Format Options: One last thing I like to do with these is add some interesting texture. Digital art is by default very flat, so it helps to add a little bit of texture to give it some more life. I'm going to create a new layer above my sweater layer. What you'll notice when I do that is it automatically becomes a clipping mask layer. If you tap on your Layer that already has a clipping mask, click plus, it just becomes a clipping mask layer automatically. That's really helpful if you're doing several layers of texture, you can just click plus, plus, plus, and then you've got three clipping mask layers to work with. What I want to do is choose a texture color that's slightly darker than my orange. I'm just going to get that orange in my color palette. Then drag down the wheel a tiny bit so I get a slightly darker color. I have several different texture brushes in here that you can try. Feel free to play around with those. I'm going to use the gritty shading brush for this one and I'll adjust the size over here and then see how that looks. Let's go a little bit bigger. I like that larger grit, so I'm going to stick with that. I'm just going to swipe over this entire sweater, make sure I've covered everything. Usually when I do a texture, I like to apply a blending mode. A blending mode is going to help it look like it's not just sitting on top of that layer, but it's blending into and becoming one. What I might do here, as well as experiment with dragging my clipping mask layer above different elements. Let's see how it looks on top of that stripe. With this particular blending mode, it doesn't look very good on that stripe. I might try a few different blending modes.I like how that looks. You can see that it lightens the blue, enlightens the orange a little bit, so you get a really interesting feel. The only problem is now I don't have that texture on my lettering, but I can certainly apply that by just creating a new layer above this blue lettering, turning that into a clipping mask, swipe that exact same brush at the exact same size and, same blending mode. That's called screen and the lighting section. I like how that looks, but of course, this is a great time to play around with various blending modes and just see how they affect the color. Sometimes you can discover a really interesting combination when you do this. I almost always try all of them with every single composition. Now that we have the basic shape and decoration taken care of, let's just add a simple background. Then above everything, I'm going to get white as my color. I'm going to grab this snow brush, this just adds a little speckles to everything and I might do a few of those. Just swiping over it several times. Then of course, you can play around with different background colors. You could go with a darker background like this. One thing I'm noticing is that my sweater is very high on the page. I'm just going to tap on the very first element and then swipe on everything else. Tap the Move tool, and then shift it down. You could share that composition just as it is. This is a great thing to share on social media or share as a project on Skillshare. Another thing you could do is start creating more of these and think about different ways to combine them. If I tap select in my gallery, I can tap all of the sweaters that I've created just to show you some examples here, I'll tap preview and so here's the sweater we just created. I was thinking, what about some other styles of sweaters? What about some other patterns and color combinations? I just played around with those. I looked at sweaters online. I thought about what would be funny to have on a sweater maybe a deer. This is more of a bright color palette, but I think it works well with all of the emerald tones in this palette. I did some different types of lettering with some polka dots. I used some snowflakes. I got these snowflake brushes from my winter watercolors class. I have two different holiday classes from last year that you'll see on the Downloads and Resources page. If you see some little snowflakes and things that I used today, that's where I got those. You can see I just tried to get a variety of shapes and patterns and colors. What you could do is open each of these sweaters or whatever illustration element you use and just tap the background layer to remove that. If you've used any all over texture, you can remove that as well. Then just click share PNG. What that does is it saves the image without a background, so then we could import it into another composition and combine multiple pieces without bringing in that solid background. Here's an example, I just combined several different sweaters that I created. All of those sweaters made in separate documents, of course. Then I just imported them into here and place them on the Canvas. Then I could add an olive texture like the snow, like we just used, just to create a texture that covers everything. One more option I want to show you that I love to do with the single elements is a repeat pattern. I created this repeat pattern block here. You can see I just pulled my sweaters that I made and procreate into this document and then placed each one in Affinity Designer. I show how to do this process in my class on service design and affinity designer, so I won't show that process here. I just wanted to show you one application for these types of illustrations. With this process, you get the preview over here on the right so you can really create a pattern and see exactly what it will look like as you create it. That would be a great thing to do with these Illustration elements. You can combine it with some little filler elements like a snowflake, for example. You can bring in some texture. There's so many different things you can do once you create these elements. I wouldn't worry so much about, can you create a final peace with this? I would say just start making some elements. You can see here, I didn't know what I was going to do with these when I started, I just knew I wanted to make some ornaments. I started building these ornaments and it eventually just turned into a repeat pattern. I could also just share this repeat block on Instagram or Facebook. I could have this in my portfolio as a surface design example. This is just a great way to get started. Don't worry about the big picture, just start creating individual elements and that'll help get you started for making something beautiful for your portfolio or maybe for a gift. Let's go ahead and get started on the next project. 6. Designing a Wreath: For this next project, I'm going to combine a set of winter plant forms into a composition. You can choose any plant forms and any composition style. I'll be using a wreath but you could do a bouquet. You could just have some plants scattered around the canvas or peaking in from the edge of the canvas, just go with whatever works for your personal style here. You'll see in the workbook that I created four pages of plant forms that you can use as inspiration, or you can just copy them directly. I've also laid out the steps for creating this and I'm going to show you as I create my wreath, how I get these textures and shading effects. You can refer to this as you create your wreath, or of course, you can come up with your own plant forms, whatever works for your style. So I'll head back to the gallery and create a new document, same size, 10 by 10 at 300 dpi. I'm going to start by choosing a color for my background, I don't like working on a pure white background most of the time, especially when I create a piece like this that contains a lot of different colors. So I'm just going to go to that first layer, tap one time and tap fill. So I've got something cream and little easier on the eyes to work with. I'll create a new layer and get black as my color, and then I'm just going to grab the circle brush and set the size. Tap one time, I'm trying to get a size that's close to the whole canvas but not quite. So that's pretty good. I want to make sure this circle is right in the middle of the canvas, so I need a guide. I'm going tap the Actions Menu, canvas, turn on drawing guide, edit drawing guide, and make the grid size all the way up to 3,000 pixels and tap "Done". Now I've got this nice blue cross here and on the circle layer, if I click the Move tool, I can see exactly how far off from center my circle is. So I'll just go to each of these blue marks and make sure my circle's right in the middle of my canvas. Let me make that circle a little bit bigger, I'd like to leave a little bit of space from the edge of the canvas to the composition. I think if you go right to the edge, it looks a little bit cramped so I recommend leaving about half an inch to an inch, at least around your compositions. Just going to duplicate that circle layer, tap the Move tool and pinch. I'm going to have a pretty wide wreath here. Just leaving that little space in the middle for text and then my wreath where we combined within this doughnut shape. I'll merge those two layers together and then reduce the opacity of that layer. So it's there as a guide, but it's not in my way. I'll create a new layer and choose a color for my branches. Of course, you could go with any color here, you could do more of a green vine color, you could do a brown wood color whatever works for your personal style. I've got the fuzzy edge liner brush and just trying to choose a size that would be a nice twig size without being too thick or too thin and I used to create my wreath by making a circle and then having things come off the circle. But the problem with that is nature doesn't create perfect circles like that, especially when it comes to plant forms like vines and wreaths. So I'm just going to make my wreath out of these little C shapes. Not really a C-shaped, just a curved shape. I'm just getting close to the border of my guides, but not all the way and I'm not trying to do this exactly the same each time. Sometimes I'm letting my wreath come from the top of the previous twig, sometimes I'm letting it come from the bottom of the previous twig. So when you create things that mimic the natural world, it's important to remember that nature is chaotic and it does not follow systems like we do in terms of the layout. It's good to just build a little chaos into pieces like this and just let them be a little bit off, a little bit wonky and just embrace that. So my very last twig should overlap my very first twig and often come through and just add a little curve here to this inner part because twigs don't meet up against each other like that. They meet up against each other with a nice soft curve If you can come in and just take a couple of seconds to smooth out that meeting spot, it can really help give a more natural look to your wreath. Now that I have the overall shape for my wreath, it's really easy to just come through and add in some extra little pieces. So I think I'm going to double the amount of twigs that I had originally and if you're using the Apple pencil, it's important to think about varying your line at the right thickness. So for example, I don't want to start out thin and then get thick, that's the opposite of how a twig should look. It should start out thick and get thinner. So with every single line that I do, I'm thinking about that. I'm trying to start out thick and almost pulling it out of the previous branch and then ending up thinner. I'm also trying to think about balancing left to right, so I want to try to have an even number of twigs. It doesn't have to be perfectly even, but you want it to be visually balanced so if you zoom out and squint, does it look like there's way more on one side than there are on the other? I'm happy with that as a start, so I'll create a new layer and then I just want to start making one of the plants from the workbook so you can do it by memory or you could use a screenshot as a reference. So I'm going to pull up one of these plants that I like. Let's go with that one, I'll take a screenshot or you could screen shot all the steps if you'd like to have that beside you. Back to my photos app or make sure that photo is selected, back in procreate, I'll open my wreath document, swipe up and pull that Photos app over to the left and just making a little bit smaller and then I have that as a guide as I work. So feel free to do that if you would just like to have some guide to help you get started and while I like these berries that are on this page, I think I just want my berries larger and more oval-shaped. You can use the plants that are on the workbook, but also feel free to make changes and make it your own. So I'm just going to go through and add these little oval berries to the whole composition. Again, I'm doing this on a new layer and that's really important because you don't know for sure if you're going to be happy with this color in an hour when you are working on the third or fourth layer of this wreath. So try to keep everything on separate layers so that you always have that freedom to change colors as you work. 7. Drawing and Shading: I'm happy with how this look. I'm ready to start adding a little bit more variation to these berries. The first thing I'm going to do is add these little, I don't know what you call those. The things that hold it on to the vine. I'm going to grab that same brush with this brown color and I'm going back to my vine layer which is on top of my berries layer. What I want to do here is, I might need to use the eraser a little bit if I have too much extra vine. Then I'm just going to take a minute to play around with a shape that would look nice with this berry. I'm happy with that, I think it looks nice to have it overlap just a little bit over the outside of the berry. I'm going to repeat that same process with all of the berries. Now that I have those berries dispersed, and they have these nice little caps, I want to add some highlights to the berry shape. I am going to create a new layer just above the berries and turn that into a clipping mask layer, just like we did in the last project. I want to take that pink color, and then just slide up on the color wheel just so I have a lighter version of that pink. I'm going to get the gritty shading brush and select a size. I think I want to go with that smaller size, so I get just a little bit of speckle in there. Something I always think about when I'm doing these highlights and shading is, where is the light coming from. It's good to just make a decision about where the light's coming from. I'm going to say this top right corner here, and then I'll only have highlights on that side. So when I'm up here, I'm doing it on that side of the berry. But when I go down here, it's on the top side of the berry. You just keeping in mind where that corner is, if it helps to just zoom out, so that you can just swipe on each one and you're always using that corner as your point of reference. Imagine there's a lamp sticking out of that corner shining on your berries. If I zoom in, you can see each one of these has a slightly different type of shading on it. Some have a lot of shading, some I just did a little bit. I'm just trying to create that feeling of variation and movement throughout the whole piece. We could do the same thing with adding some shadow. I've got that pink berry color. I'm sliding down the color wheel to get a slightly darker color. Tap on my berry layer and create a new layer. That automatically becomes a clipping mask. Then when I come down here to add the shading, my berry has this nice shaded area on the bottom. Of course, adding shading and highlights like this is optional. But I just think it adds a lot of movement and variation to your piece. Just takes it to that next level where you're not creating just flat digital art, you're creating something with some texture and movement. With these winter plant pieces, I tend to always do this because I just think it gives it that gritty, textural, illustration feel. I think later on I'm going to do the same thing on the branches. But I'm going to save that for later because I know I'm adding more branches, so I don't want to shade them now and then come back and have to shade the new ones later and try to make it all consistent. I'm just going to save my branches for later and I'll continue by adding my next platform. I'm just going to do some simple leaves with this one. I'm going to start by grabbing that fuzzy edge liner brush again and swooping out from my original wreaths. Then let's start with some simple leaves here. I like to create these before I commit to filling the branches out on the whole composition. Because I don't quite know yet how much room these leaves are going to take up until I create one. I do recommend taking this step-by-step. Make one platform, then decide how many of those will fit in your composition then you can start adding all your new branches. If I jump in right now and start making my new branches, I might make too many or I might make not enough because I don't know exactly how much space I need for each of these leaves. I think that's about as large as I'm going to let those leaves get. Pretty much these larger open spaces will be fine for fitting a leaf. I'm going back to my branch layer, making sure I get that same branch color. Then I'm just going to start swooping out to add this little twig for each of my leaves. You can see I'm trying to start varying the angle a little bit of these branches. I don't want everything to go in the exact same angle because then it just ends up looking a little fake. Try to intentionally make things a little bit off. You can see these two berries are coming out parallel. Then this new line, it's jetting this way. So it's creating that chaos factor that you see in nature. I may end up having to put some single leaves in a few places just to space out the green around the canvas. I'm just going to add a few, these little branches that will probably only fit one leaf. Now I can start adding in my leaves and I'm fine with some of this stuff overlapping. But I want to do intentional overlapping. Let's say for example, I overlap this piece like this. There's something a little strange about this leaf, almost poking that shape. I think it would be better if it's fully overlapping it. That's something I think about when I do overlapping. Make your overlapping and all other things in your composition look intentional. If you have some little triangle that's just poking out behind another one, that looks a little bit like a mistake rather than an intentional overlapping. That's just something I think about as I'm placing all these leaves and I'm just going to continue the same process around my race now. What I like to do after I do a big filler plant like this is zoom out quite a bit and just see, did I miss any big areas? It's okay to have some variation. I think this area is a little bit sparse in terms of the green leaves, but it almost gives that natural variation that you see on a real plant. I'm okay with that. But let's say for example, these two leaves were here and there's just a big blank open space, that would look a little weird unless I did it in other parts of the leaf. I'm just trying to be consistent. You set your rules for how you want your composition to be and then stick with them. The next thing I want to do, one of my rules that I've started so far is I want to shade things. I want things that have a nice shaded texture. I'm going to do that same thing with the leaves. I'm going to do a slightly different type of shading now just to differentiate them a little bit. What I'll do is create a clipping mask layer right above my leaf layer. I'm going to get a slightly lighter green with that same brush, the funds fuzzy edge weiner. I'm just going to swipe here. If you want a little more of the texture, you could do the drag wash. That looks nice too, or you could do the streaky acrylic. What I recommend is just choosing one and then stick with that throughout your illustration. I've kind of gone with the fuzzy edge liner from this to this, I think I'm going to stick with that. I'm just going to give these a nice little half colored section. I'm happy with how this looks, but I feel like it needs one more type of plant just to fill in all this extra space. I know I'm going to want my text to be white. I think I'm going to go with something white here. One option that I like to use a lot is just a little spring. I'm going to go with a thin little stick here, and then just give it some berries. That's a nice option. You can fill these in more. Or we could do a berry that's similar to what we've already done. I could start by working on my branch layer, and then on a new layer above that just come in with a little white berry. It can be something really simple, but I think it helps. Whatever color your text is going to be the reference that in your wreath. I'm going go with this really simple version, but feel free here to play around with a lot of different options. At this point my goal is to just fill in all these little extra spaces. Anything that looks blank and open, I'm just going to come in there and add a sprig. I'm happy with how this looks, the only thing I might add is a little bit of shading on the branch. I'll create a clipping mask layer right above the branch layer and get that slightly lighter color. Then just come in with some shading. With this branch, it doesn't have to necessarily be directional on every part of the branch. But I still, I'm thinking about that original light source coming from the corner and trying to just shade and highlight the branch a little bit so that it references those berries. 8. Lettering and Format Options: Now, I'm ready to create my text. The first thing I'll do is just sketch my text in, and if you open up the workbook, you'll see that I created a list of quote ideas that you could use. These are just winter or holiday themed quotes. So feel free to just pull one from here if you're not sure what you want your quote to say. There's the traditional section here with things that you've probably all heard before. Winter wonderland, Joy to the World, but it's now, and then some more modern funny ones like all I need is blank and blank. You could fill that with some winter themed ideas. Like all I need is warm socks and hot tea. Or I just want to blank and blank. I just want to watch movies and snuggle. Is it a snow day? Yes. So you could pull from this list or you could certainly come up with your own quote. I'm just trying to think about how I can fit this text on a few different lines so that its space nicely. I wouldn't want to have a long line of text in the middle, and then something tiny on the top and bottom. Unless your using two different types of lettering, but I'm using one type of lettering here. So I know I just want to have some simple even spacing. So I'd like to just start by sketching out the tags, and then I'm going to grab a different color that's really easy to see and just create some little guides for myself. I'm just using quick line by putting two fingers down, and let's make this a little bit taller, and then we've got a line in the middle to help us place our crossbars. I'm going to duplicate that layer and just shift it down for all my other layers of text. Now, I know that all of my tax will be the same height, and I'm going to make this text layer almost invisible because I don't want it to be in my way, and let's grab a different color and just really carefully draw this out so it's nice and even. Thinking about how taller on these letters, how wide I want these letters, and making sure that'll fit especially for the larger words like snuggle is pretty long word for this. Another thing we can do, let's say your guides aren't quite wide enough. So these two middle guides, I'm going to select one, swipe left to select the other. Tough the Move tool, and just pull to make these a little bit wider. So I just needed a little more space there. Then I'm going to zoom out and makes sure that word is centered. So it looks like the word let's is not centered. I'm going to click the selection tool with free hand selected, circle around that, tap the Move tool, and just shift that word over so it's right in the middle of the canvas. The word cookies, I didn't have enough space. Again, I'm just using the free hand selection, shifting that over and making sure I have enough space for that. Now I can remove my original text sketch and is take a look at how this is working in terms of the spacing. I'm just selecting all of those layers and shifting them up a little bit. Just trying to make sure this is right in the middle of my race. I don't want it to be too far down or too far up. I always zoom out quite a bit and squint and make sure things look normal there. That looks good to me, I'm going to merge all of these layers together so that I have the texts and the guides and my guide sketch all on the same layer. So I can reduce the opacity and it's not too distracting. Now, I'm going to get my color. I'm just going to use white, and I'm going to grab this angled lettering pen at the top here. The nice thing you can do with this is make a thicker line on your down stroke, and then a thinner line on the cross stroke. So that's how I'm going to create my text. Of course, you can do your text however you'd like whatever style works for you. You can trace a font, but it tends to not look as real and interesting as just creating some of your own lettering does. Be confident with your lettering, your handwriting may not be perfect. You can see that my handwriting's very ugly, but you can make your lettering look pretty by just playing around with these guides and making sure everything is nicely spaced. So you can see I'm trying to very my width so that the down stroke is thicker and the cross strokes are thinner. I'm going thick, I'm running out of space again that word cookies. I'm going to go back to my guide layer, get my selection tool with freehand selected, swipe around those letters, and to shift them over a little bit so I have a little bit more space on my lettering layer. I'm just going to read you a few of these that I don't like. So sometimes when you step back, you'll realize something that looked good as you were working doesn't look quite as good when you're finished. For example, these two Gs are just too different. Because I like this other G, and I'm going to swipe around it with the selection tool with freehand selected, drive down three fingers, copy and paste, and just shift that over, and now I've got two Gs. I've also noticed that the spacings a little off on some of these words. Again, I'm just going to use the selection tool with freehand selection, and I'm just going to making sure all my letters on the same layer. I'm just going to move over anything that isn't quite space nicely, and this is a good time to remove your guide layer because you want to really get a good picture of what your lettering looks like without the distraction of that guide layer. One thing I'm noticing is that I love that E, and I'm not crazy about the others. You can always feel free to copy letters. You made these letters, so feel free to copy them. You don't have to uniquely create every single letter by hand. I'm just going to circle that three fingers down, copy and paste, and then put that in place on all of my Es. So at this point you could add more decoration to your lettering. You could get that snowball brush, for example, and go through, and add a little bit of a highlight so that your lettering stands out more. Something like that. You could duplicate this lettering layer, move it below the original, swipe two fingers right, and tap it one time and tap fill layer. I'm just filling that layer with a solid color offset and just a tiny bit, and then you've got a little bit more of a shadow that's makes that stand out. The last step here is just to remove your guide layer for your wreath and just think about what's missing or what needs to be added. Play around with the color options. Maybe this looks better with pink text. Maybe it's a little bit more stand out with the pink text. Maybe I could take my fluid ink pen, and just erase a little line out of each of these. So that might look nice as well. Play around with a lot of different options. You can also change the color of your reads. For example, I've selected my berries layer. I'll tap hue saturation brightness, and then I'll just play around with different options for those berries. Maybe they'd be better as blue, or maybe they'd be better white, or dark, or some other color. This is a great time to just adjust. You've got your structure down, you've got your shapes and your lettering, and you can really just play. I also want to show you a few other options that I created for this composition. The first one is just another type of wreath with different plants. So you can see I've done the exact same process, but I use different plants, so it has a totally different feel. You can also combine a lot of different plants here we've only done three, but in other compositions you can do 5, 6, 7 plants, and just have a menagerie wreath. So feel free to play around with some of these options that we didn't cover in the class. Also, you could use a bouquet format rather than wreath format. If you're not really into lettering or you're not really under this, try some different compositions. Maybe a lettering piece where the plants just come from the outside of the canvas. There are a lot of different options once you start creating these platforms and getting comfortable with drawing them. There are so many different things you can do with these. Let's go ahead and move on to the next project. 9. One Point Perspective: For this next project, I want to combine some cabins with some rows of trees and snow texture just to create a varied winter scene. Our first step is to create a house, and you may want to find a picture of a house that you want to copy, or you can just come up with a house from your imagination, and that's what I'll be doing. I'm going to start by sketching the house in a separate document because I want to be able to create it full size and I'm actually going to create a few different houses. I like to just do them in separate documents so I don't have to worry about layered limits, and then I'll create the final composition in a new document. This is just the blank document for my house. It's 10 by 10 inches at 300 DPI. I'll get black as my color, and the fuzzy edge liner as a sketching pencil. I'm just going to start by sketching out the house shape that I want. If you're doing your own house or someone else's house, this would be a good time to pull up a picture, or maybe you have a sketch already that you want to work from. I'm just going to do a general sketch of a two-storey house here. But of course, you could use a real house or some other house shape that inspires you. I like this overall shape. Then I'm just going to think about where I want my windows to be. We could even have a circular window up here in the attic if we wanted. Just place your basic shapes at this point. Of course you can draw a house by just drawing the front and showing the front side. But I want to show at least one other side of the house. If you want to show two sides of a building, you can use one-point perspective to get all of your angles right. One-point perspective is really easy. I've just created a new layer and now I'm creating a straight line across the canvas. I'm using quick line by putting those two fingers down. Then I'm just going to make a little X over here on the right side. That's my vanishing point. That's the point where all my perspective lines will meet. I'm going to make my sketch layer semi-transparent. Then on a new layer above everything else, I'm going to start drawing my final house. I'm going to use quick line a lot here because I want straight lines and I want them to be straight up and down. I'm just making sure things or even, I'm just creating a basic rectangle, and this is the front side of my house. Now I want to create the side part of my house. We're going to go from this bottom corner of my rectangle to my vanishing point. I don't need to put down two fingers here because this isn't a perfect 90 degree angle. This is whatever angle it is to the vanishing point. Now I'm going to end the side of the house right about there. Just try and leave enough room for some windows. Now I can get my eraser and just erase that extra stuff, so it's not confusing because I don't need that, that's just a way for me to get that angle right. Now we want to know where the top of my roof should go. I'm going to pick a point in the very center of my rectangle and just make a straight line, straight up and down, and then that determines the slope of my roof. Then we want to know what is the angle of the top of the roof. We need our vanishing point to know that. I'm just going to go from the top of the roof to my vanishing point, and then this angle should be about the same as this angle here. They should be parallel. You can just eyeball it. Then I'll just grab my eraser again and remove any lines that are confusing. Now we've got a really nice basic shape for a house. I'm going to create a new layer and start working on doors and windows. I'm always using quick line with this because I just want it to be straight up and down. But of course, you don't have to do a house that's like this where the angles are so perfect, you can do something that's much more sketched and freehand. This is just one way to draw a house, but certainly you'll find your own style as you do more and more of these. Now that I have one window, I can just swipe left and duplicate it. Tap the Move tool and make sure Magnetics is on, and then just shift that over to the left side. I can duplicate that same window again and move it up. I actually want the windows on the top to be a little wider, so I'm just going to widen that a little bit, duplicate that and move it over. On a new layer, I'm going to start making my windows that are on the side of the house. How do I know where to start those windows? First, I'm just going to create a little point here that shows me where these windows meet from the top to bottom. Then my vanishing point will help me determine the angle of all of those windows. I can just draw straight line down here. Another one, and of course there are very precise ways to measure things like this out, but when it comes down to these tiny little details I tend to just eyeball it. I don't think it's that important that this is absolutely perfect, but I do want to get a pretty close. Again, I'm using my vanishing point to figure out my crossbars on my Windows. Then I'm just going to erase all that extra stuff that I don't need that isn't actually part of my window. We can repeat the exact same process on the windows on the top. Now that I've already created these windows down here, I can actually just use them as guides to know exactly where to place every line on the top. I'm going to add a little handle on the door and a little window on the door as well. Now that I have the basic shape, I can create a new layer, and I'm going to put this below all my other layers because I want to be able to see my sketches that I work. I can remove the original sketch though and also the vanishing point. You could certainly just merge all of your sketch layers on the one layer. Then you can erase anything that you're not going to need. 10. Coloring Your House: I'll go ahead and on that new layer, that's below everything else, I'm going to start coloring. I'll start with a bright yellow with the fluid ink pen, and I'm just going to fill in the basic shape of this house. I'm going to put each new element on a new layer, so I keep that flexibility that allows me to change colors. Now, that I'm doing the windows, I'm going to create a new layer and then draw the windows using the same process. Again, I'm coloring a new object, so I'm using a new layer and that new layer is going to be for my roof. I've decided to make my roof go a little bit beyond the edge, so it has that extra leaf that you see on real roofs. I'm just eyeballing it. I don't worry with every little thing to make it perfect perspective because this house is going to be really tiny in my composition, so it really doesn't have to be perfect. I'm happy with that. I feel like my windows need a little bit of a frame and my door needs a color. I'll just be creating new layers and adding in those elements. Because my door was right along the edge here, it's coming off the bottom of the house a little bit. What I'm going to do is go to my house layer and click "Select" then click "Invert". I'm selecting everything except for my house. Then I can just go to the layer that contains the door and erase that little bit of overhang. That just makes a really nice clean line on the bottom of the page. One last thing I want to do if you remove the sketch layer, you can see that the side and the front of the house don't really have any definition. They look like one big piece. I'm going to add a darker color on top of this yellow. I'll just do that with a clipping mask. I'll create a new layer, turn it into a clipping mask, choose a yellow that's slightly darker than the yellow that I was using before, get that fluid ink brush, and then just create a nice little box around the right side of the house. Now, you can see if I remove the sketch layer, there's just some nice definition between this side and this side of the house. We see that same process on the roof. Create a layer above the roof, make it a clipping mask, get that brown color of the roof, and then get a slightly darker shade. Now, I can remove my sketch layer and start thinking about shading and adding more definition. I'm also just looking for any little things that I may have missed. Little pieces that are hanging off on the edge like this. I'll just clean that up now. I want to add one little piece of visual interest to these windows. I'm going to create a clipping mask above the window layer, and I'll get the blue but then go slightly towards the white zone, almost totally to white, and I'm going to grab the gritty shading brush and just create a circle around this window. What you'll see is it creates a frost effect. If we do that on all the windows, it gives you just a little bit of that winter feel. Now, of course, if you wanted to add a lot more detail to the house, you could add in some siding, you could add in some bricks, whatever you want to do here, you may just want to first think about how big this house is going to be in your composition. If you do some bricks, keep in mind the size because once you size this house down to a certain size, tiny bricks wouldn't even be visible. Just think about that if you decide to add any more decorative elements. I'm going to stick with this for now. I'm going to make my background layer invisible, so my house is the only thing that's visible. Then I'll click "Share", "PNG" and "Save Image". I'm just saving this as a file without a background. What I've done before this class is I went ahead and made another house. You can feel free to make more than one. You can make five, 10, whatever you want to do here. With this one, I've also added a little bit of shading. This is something that's optional, but you can certainly do it just to add a little bit of grit. I added the light coming from this side and some dark coming from this side to give the house some little bit of light variation. 11. Creating a Tree Brush: Now that we've created a couple of houses, let's go ahead and create a new document. I'm using ten by ten inches, just like I have in the past. I'm going to start by just sketching my composition. I want to get a general idea of how I want these to look before I start laying down elements. I know I want to have one house up here and one house down the hill a little bit. There are going to be some layers of mountains here. Just coming in behind the first house. Then there'll be a nice snowy bank that just sneaks behind all of them. Then we'll have some trees that I'll help give us a little bit of perspective here. That's my general layout. Of course, you can go more detailed with this if you want. But I've done a few of these so I feel comfortable just jumping in. Go with whatever feels right for you at this stage. Go ahead and place my first house. To do that, I'm just clicking, add, insert a photo and then choosing the file. If you want to add this mountain of trees in the background, it can really take a long time to draw each tree individually. Of course you can do that and then each tree will be unique and that would be a beautiful composition. But you can also reuse shapes in your compositions. You don't have to redraw a new tree every single time. What I've done is selected a range of colors. Let's say for example, I choose this green color. What I would do is for a row of trees, I would have the lightest and the background and the darkest in the front. I would go here and tab, there's a light color. That'll be my first row of trees. There is a darker color, that'll be the second row, darker. I'm just sliding down the color wheel in the same color range. What I've done beforehand is just saved a few colors in that same range. You can see if you watch the little dot, it just jumps down the color wheel. I want to start by just selecting a color range. You could do a green range or blue range, whatever works for your style. Then you can grab one of these tree brushes. There's four tree brushes total. What you'll notice about these is you can select a size over here, but it's also pressure sensitive. You can play around with the pressure to change how it lays down. Of course, you don't want every single tree on a range to look exactly the same. You may want to start with one tree. Do a few of those, select a different line. I'm just trying to get a nice silhouette shape here on the top. I'm not worrying so much about what's going on from here down. Just looking at this nice silhouette above. Then if there's any just areas that need to be filled in, you can just use one of these more chunky trees. I'm just going in the few different tree shapes. You may want to create your own tree rash because then you'll have different trees than the ones that everyone else is using. It's super simple to make these tree brushes. Here's one of the tree brush shapes that I made. Just takes a few minutes to create a tree, maybe pull up a pine tree shape. Maybe you have a picture of a tree that you like. I'll start by creating a line. Create a nice trunk, creates some sweeping, every tree has a different shape. Pull up the tree that you like and go with that shape. Then I'm just going to go to each of these little pieces and fill it in like this. I'm just using that fuzzy edge liner brush. We're just trying to keep it really varied, really loose. You know, people can see the looseness of your hand when you draw. If you're drawing like this, people can really see that. But if you're just loose and you're just letting the grass just fly across the page. It's visible in your line. Think about that as you draw something like this, you want to capture that fluid movement of your hand. I would just continue that same process. Then we'd end up with something like this. Click share JPEG. One very important note here is your canvas size has to be square, and I recommend ten by ten inches at 300 DPI whenever you make a procreate rash. Keep a square canvas. Save Image. Go to one of my tree Russians, swipe left, tap, duplicate, tap on it, tap source, and insert a photo, and then choose that tree photo that you just saved. Then you probably want to test it out a little bit. Maybe get a green color and just see how it works. There are some settings you can adjust if you don't like how it's showing up. Spacing will adjust how close the trees are to each other so you can make them really far apart. Let me remove this so it's easier for you to see that. Or spacing could be really tight. There's all settings on this page that you can play around with. You can see in the preview what happens when you do that. Play around with those settings and then you've got your own tree brush for your composition. Of course, feel free to use mine as well. But it may be fun to create some of your own throughout this process. 12. Layering and Texturing: I'm happy with this first layer of trees. I'm just going to choose my next darkest color, and repeat that same process with the various tree shapes that I'm using. One thing to know, you want to be careful with these brushes. You don't want to have a tree like this. Keep a close eye on your profile here. This tree here is floating in the middle of nowhere and that just looks weird. Keep an eye on that when you use these brushes. If you have an issue, just tap two fingers to step back and start that tree line over. I tend to do this in little swipes because, if you display your brush down and go like this, and then you realize you don't like it, you lost a lot of work. Whereas if you just do little tiny taps and you're filling in small spaces at a time, you tend to be more efficient with your work. I'm going to go to my next darkest layer. You can see that I'm only using that tiny top part of that first layer. Everything below it is now invisible so you don't have to worry so much about what's going on on the bottom. Just worry about that very top profile. You can see I'm putting each new color on a new layer because that makes it a lot easier to add it later on. I'm happy with how that profile of each line looks. There can be trees under my house, so I'm going to get white with the fluid ink brush on a very large size, and I'm going to create my snow bank. Let's remove that sketch layer to get that out of the way. I'm realizing that my trees I don't think went down far enough in the back. Let's go a little bit further with these darker trees. I'm happy with that. I'll get that white as my color, the fluid ink brush. Just keeping in mind that my house needs to set on solid ground. I need to go far up enough with my snow bank that it appears that it's up on a hill and not just sticking out from behind these trees. I'm happy with how these first few layers look. I want to go a little bit deeper with my trees because I want the viewer to feel like they're inside this drawing. At this point, I like to just switch to my finger because your finger will put down the same size tree every time, whereas the pencil will put down a different size tree every time. That can be a little difficult when you're trying to get precise with your trees. I'm going to start with a very dark tree over here on the side. I'm not quite that dark. I'm just playing around with placement. I don't want it to be obvious that I'm using the same tree multiple times. I'm just playing around with setting it down in a few different ways to see what happens when I move it around the canvas. You can always go back to those lighter tree layers. You don't have to just do one and done. I can go back to some of these lighter layers. Let's say there's a little area item I like, and I can play around with that a little bit. This is really the fun part I love, just playing around with these trees and you can create this composition 10 different times and each time it would look totally different. Take your time, play around with the tree placement. This is like an imaginary world or you can be working from a photograph and trying to get the exact look that you see in that photograph. Once you're happy with how all of that look, it's a good idea to go through and make sure you don't have a lot of white in these silhouettes. If this is truly a mountain, probably there isn't a lot of white in here. I'm going to go back to that layer and get that same color and just add in a few taps of trees in order to make that more opaque back there. I'm just looking for any little thing that makes it look less realistic. Too much white poking out is just a little odd considering the perspective that we're trying to show. I'm happy with how this works, but I do feel we need some more texture and variation. I'm going to create a new layer that's above everything. Get white as my color and grab the snow brush. We could go with the blizzard, which is totally snowy, or we could go with the snow brush, which is just some light flakes and you can gently tap until you get these exactly how you want it to look. I've got snow falling everywhere. Another thing I'd like to add in is some fog. It's very common to see some foggy areas peaking out when you look at a scene like this. I'm going to grab the fog brush with white as my color on a medium size. This brush, you can just press it really lightly. Let me just add a little bit of variation to everything so that you don't have these big solid areas. Even on the tops here, you could make something almost totally invisible. It looks like the fog is coming down from the sky and covering up the tips of these. You could keep going with this. You could grab some light gray with the fuzzy edge liner. This is a little bit too gray, let's go a little wider. What if we had some footprints and those need to be on my snow layer. Let's go to the layer right above my snow layer. The way you angle this will determine if the person is coming or going. You can decide what you want to depict here. There we just have some little footprints coming out of our house. It just helps you imagine someone walking out of there. Let's do the footsteps angled the opposite way on this house, so someone's going in. A little details like that add a lot to an illustration, they're telling you a story about what's going on here. Maybe we could add a little animal or bird or a person or something else. Truly you can go on with this forever. You can go as far as you want with this style. Let's go ahead and call this piece finished. I hope you enjoyed this class and that you feel inspired to start creating your own Winter themed illustrations. If you liked this class, you may like some of my other classes where I cover a lot more ways to design and paint on your iPad, like how to create folk art style illustrations, how to draw in an art nouveau style, and how to set up your society six shops and create mock ups of your digital art. Check those out on my profile if you want to see more. Also, I share a lot of free downloads on my website. If you'd like to get more downloads, like the ones you got for this class, check out my site. I would absolutely love to see your finished Winter illustrations. Please share what you make. You can do that here on skillshare in the project section, or you can tag me on Instagram or Facebook. You could also join the Facebook group I created for iPad artists, illustrators, letters, and digital plannings. It's a place to get opinions and advice on iPad, drawing, painting, and digital planning. Get inspired by digital creations from around the world. If you love creating things on your iPad and want to join other people around the world and conversations, sharing ideas and seeing each other's work, check out the group to the link on my website. If you have any questions about the process you learned in this class, please feel free to reach out to me. You can reply to my discussion here on skillshare, or you could contact me through my website. Thanks so much for watching and I'll see you again next time. Bye bye.