Botanical Illustrations in Procreate | Karen Ciocca | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Trailer botanical


    • 2.

      My process


    • 3.



    • 4.



    • 5.



    • 6.



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About This Class


This class is how to use Procreate to create botanical illustrations. This class will be the first of a series where I demonstrate my process on how I use Procreate, we sill do a simple demo of a cherry to get acquainted with the brushes and workflow and then  we will paint a rose, buds and leaves. 

The next class will  be pen and ink of the same illustration. and the third class will be taking these elements into Photoshop or illustrator to create a product. 

I hope you enjoy my class and please like and share!  

Meet Your Teacher

Teacher Profile Image

Karen Ciocca

Graphic Designer, Illustrator, Fine Artist


Hello Friends!

I am presently the Art and Marketing Director at a Granola-Nut company who also distributes organic and all-natural nuts, seeds and fruit to supermarkets and chains nationwide. 

My career has been as a corporate and boutique agency in-house graphic/package designer and digital illustrator. My packaging illustration and design work have been on retail and supermarket shelves for over 30 years. Including Pilot Pen, Bigelow Tea, Perrier, Lindt Chocolate, Poland Spring, Aurora Products.  

I am also a professional fine artist and I love to paint animals and nature. Having been commissioned numerous times. 

I am excited to share my skills as a Graphic Designer and Fine Artist here on Skillshare! 

 <... See full profile

Level: Intermediate

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1. Trailer botanical: everybody. My name is Karen. See, Yoka. I'm a graphic designer and illustrator and fine artists. Thank you so much for taking my botanical illustration and procreate Siri's. This is the 1st 1 I'm gonna be making multiple other classes in that genre. And I'm also going to teach you how to take your beautiful illustrations into Photoshopped and illustrator so that possibly you could make a product out of it or something to monetize down the road. And if you haven't already taken my learned to illustrate in appropriate for using nature photography, that is a great place to start because I flew over the whole entire less. So I want to say thank you so much again. And if you have something you want to share with me questions to ask and love to see your projects. So until then, I'll see you inside by 2. My process: Hi, guys. Welcome to my class, and we're gonna start by doing this cute little cherry exercise. Let's go up to our layers and make a new layer and rename it illustration, And then we're just gonna drag that layer below the drawing reference that I made there and my drawing reference. I have the capacity down, and I just do that with a blue brush, the same studio brush. And now let's go play with the brushes for a minute. Go to our studio pen I four brushes that we're gonna be using and just pick a color and just play with it. It makes thick and thin lines. It's easy to draw with when you put pressure down on it. It's reacts to that, and it's a really good brush to start with. If you look at it, it's sort of fuzzy the shape source, and there we go. It's not a glazed brush, either, so let's go to the wash brush now. The glass brush it has a little texture in it looks very painterly. It's nice to fill with. You could see what the shape source looks like, and the grain source has a little green in it. It's not glazed, so it's normal. OK, and now let's go look at the wet glaze. We're gonna use this brush a lot, too. It does look like it glazes, and it goes from light to kind of dark, like a radiant. You could see what? Here's a good radiant, but applying more pressure down. And that source it's glaze. You could see it in the glaze mood. It's sort of this little War car burst with the plane, um, grain. And now let's look at the wash brush. The wash brush has this beautiful like watercolor bursting it with a plane source. It's not glazed at all. Yeah, it's one my favorites. You just stamp it on. It makes this beautiful watercolor look very soft look. So go ahead and play with these brushes and see what they can dio. I added right here, and I went over, so it's very lovely. All right, so we're gonna use this much tool. Everyone use the wet glaze brush with this much tool throughout all of our projects. Awesome. Here. I'm just using this much tool for everything, and you can play with that to see what it does So I just erased it, cleared it in my layers. And now we're gonna go up to our layers and grab our studio pen, and we're gonna pick the red color. I have all my color selected in my palette already and going to medium tone. And I'm such trace My illustration. You go up to my right corner and I'm gonna grab that feeling. Just drag it in Perfect. Never go back to her studio pan. Pick another color the green for the stem. I'm going for middle value here, miss. Draw that in and you could feel it the same way. Or just like colored. And whatever is easier for you. Awesome. Never gonna go up to our later we're gonna hit the Alfa lock and that's gonna make it to begin paint within the lines, not worry about getting out of the lines on the pick our wash brush make it a little bit smaller and darker color and just go around the edges and everywhere my drawing that I did a little bit of scratchy shadow lines there. I'm never that me, I just like to play. Have fun with this. There we go and I'm gonna go grab a lighter color. Still using the wash brush. I'm gonna get that lighter. We're cool. Cut more warm color. Actually, Andi feel in that highlight area that I drew in nice and neat and very nice. I want to go back and get some more highlight colors. So using her wash do they move that I went to the wet wash their and here we go. Bring this size down And I'm just drawing that line up on top where the cheery is probably the brightest and just put it in my brightest areas. And I keep kind of layering like these to do a little at a time in a long time, until you like what you have, we're gonna add this blue. Now, people usually ask me why I asked Blue, but it's kind of like reflective light from the atmosphere. And I always feel like if you have a lot of warm colors, it's good to throw in a cool color here and there. Just look at nature and you could really see it. And I'm going to just blend that in with my blend tool or my smudge tool and just take your time. I'm using a light pressure here, changing the size if I need to going under that top one cause they want one side to be a little bit more smudged and the top side to be a little bit more hard on on the top for the stem ISS. And so you might over smudge. That's OK, but always add more. So I'm just trying to make it semi realistic. I don't think too realistic. I don't want to look photograph. I want it to look like a painting. So just smudging away. That's really looking good. Now it's really coming along. It wasn't that hard for create is a lot of fun, So I think I'm gonna add even more highlights to this. Now I'm still smudging. I could see the right side is just getting a little bit more blended in. Beautiful. All right, so here we go Grab a lighter white. It's still in my blues. It's OK. Yeah, here we go. Cherries are very shiny s home trying to give that illusion of that gloss. So now kind of highlighting the stamp. It added some colors to the stem area. Some brown's I'm gonna blend that the same way with this much tool, it looks pretty awesome. Okay, now we're gonna get rid of the Alfa lock, and then we're gonna hit this select, and then we're going down to the bottom and hit. That looks like two arrows pointing to each other. And that is gonna invert the selection. We're gonna go get our wash tool brush and get a pretty blue color and call you want could be purple, anything you want, and then we're just gonna put some atmosphere behind it. Beautiful. And now get a darker blue or gray and just draw in a little bit of the bottom shadow. Beautiful. And I'm gonna take my smudge tool and smudge it and just give it a little stem. Going out with this much tool zoom, huh? There it is. There. Just got just tidy it up with this much tool. Make it look a little rounder. Like the shape of our cheery. Awesome. So pretty. So if you overdo it, make a mistake. Just you can always fix it. I'm gonna add some more of my wash tool here, wash brush and just go over a little bit. There we go. great musician. Easy. Right now We're just going to bring it back. Look how pretty that is. That was so easy. I hope you enjoyed it. 3. Rose: in this section we're going to start drawing are flowers or whatever plant that you want. Todo. So I gathered my photos from actually Home Depot, where I just saw all those beautiful roses and started taking pictures. Eltham. And then I curated them into the ones I really loved. And so kind of one of the leaf and a flower and a bud and just something I could make something out of later on. And so I kind of did. The sketch is very, you know, just the outlines of the shapes, and I put in the shadow areas, and I think it's really essential that you try to draw them and you'll get to learn the man a lot better. So let's begin. So I open my canvas and I made it 2000 by 2000 pixels. 300 DP I and RGB. Then I went ahead and I drew all of my flowers that I wanted to do with these case. We're gonna do a bud and a flower shape and leave shape, and there's my reference, and I have, um, it all in there nice, neat layers. So now I'm gonna pick my image that I want and that's gonna be my flower. And I'm gonna go get my studio pen and I'm gonna pick a middle tone that I want, which is gonna be that yellowish color. And I already set up my palate ahead of time. So make sure you're on the right layer and I want the drawing to be above the layer of your sketching that you're gonna do. I'm just gonna outline the whole image and said, I'm gonna go to my right and crab my palette color and just bring it in and let it go And if you have all of your edges touching it should feel right now I'm gonna go Hey and go to my leg glaze I'm gonna pick out my shadow color So everywhere that I kind of scribbled in my shadows That's what I'm gonna cholera and I'm not gonna be that need about it I'm just gonna try to get it in theirs is quickly as I can I love procreate because I've been using it lately for my illustrations. I'm doing some for Bigelow tea again and they have saved me. This has saved a lot of time, All right, so I'm just gonna keep going around and thinking out My light is coming from my top right corner and going down to my left. So I'm gonna try to be consistent throughout all of my botanical drawings. So they are competive. I'm smoothing out with my smudge brush right now. I'm just kind of smoothing out those edges and, um, the further away, sometimes the more blurred it's gonna be. The ones that are closer to the pedals are gonna be a little bit more harsh on the edges. There you go. And very nice. I'm just bringing that into the middle part there because I know that's gonna have to be darker when we put the statements and try to think ahead. And the reason we're doing the separate and not as one composite pieces, because in the end, you're gonna want if you use it for another product, you might want to have them separate, so you can use individually and move around. So now I'm grabbing some yellow, and I'm just making this wash it sort of a reflective light under the pedals because the middle of the flower had a lot of yellow in it, so It's like yellow radiating out to a you know, beige, yellow color and just a little bit darker. I'm still using my watch. No, go back to my wash brush. I like to mix the textures, not being super neat about it now blending it with orange, just trying to make it kind of model. It's an illusion. Painting is an illusion of dark and light and colors. If you have your values right, you can use any color so anymore orange because I think it was in the flower itself. But I think it makes it glow. You have that reflected light under that pedal, even though there's a shadow there. So really observe your photograph for your flowers in the light and use your, you know, artistic. I decide what you want to keep in your illustration of what you need to just like Dio. Um, you're the artist and you are You can make those calls yourself. So now I'm gonna grab a lighter color and just being my brush down, I'm gonna put those bright lights on. So here we're establishing the contrast in flour and you know what I threats. But the Alfa lock on So let's put it on. And that's gonna make me stay inside the lines on the edges there. It's just kind of a way to select your whole image and stay inside so you can really see it starting to pop now, getting those edges where the light will hit the edge of the pedals. I'm adding some wet please my collar and I'm going into the pedals and tried with those kind of Mainz and because it's not perfectly flat pedals, they kind of have these, you know, goes in and out kind of wavy. Just given that dimension and make your strokes go with pedal grows. Just add that illusion of, you know, not that we're hitting realism here, but more realistic e still want to paint to it. Go so I could see it's really starting to take form, and it's only been a few minutes. So now, judging it, I'm taking my smudge tool, and I'm going with warm of belief. It's really nice. It's just blending those pedals and given that that soft, leathery texture of their of dragging some of that shadow out me more realistic. Unbelievable. I removed my drawing and we're gonna do the best without drawing There need to tidy up now just sledging Samore. Just blend what you think you need to lend and we're gonna just keep adding It's sort of like a union. I like to have hard and soft edges. I'd like to have lost found edges trying to define each petal just a little bit more. I'm using a very light touch handed sometimes trying, you know, remind myself I don't have to be so harsh. Wist I go actually very like and get the same results grabbing color, bringing my shadow area basically so now define pedals had and more shadow lines and then we blend it. We need to make those panels pop to be to pass. Some of my edges are very sharp to make sharper edges closer Teoh range of something softer edges Are the lines obscure pushing it until you like what you see I always had back You take too much away plays my toe just in the shadow area on the bottom There has more color to just make it kind of start to close So gonna get some light blue as I've done in my other Jiri video and we're just going a little bit of color in the shadow. Just tell what kind of all around? Just a little atmosphere. Okay, so I'm getting my wash brush? Yep. I'm just gonna light very light touch a light sky blue just here. There around pedals, A huge difference already And the way the flower looks because I always feel like if you have a predominantly warm, you know, painting to ads and cool colors to really make your painting sparkle and vice vers so really made those shadows under the pedal. Looks like it's, you know, luminescent and I'm tidying up at this point is that kind of recipe is tiding up with statements in I'm just using my orange studio pen and I'm adding those Damon shapes, and I decided that it needed to be a little bit darker in the middle of that center, so I'm just adding some scribbles of brown and orange. Just give a little smudge that's much better. So you know it's yellow, but we want those statements to pop out, so you have to have a darker base there, and since I just don't know until you start doing it, Ware speaking circles and a lot of just radiate out. And I'm gonna put a little highlight on there as well, just to give him even more dimension. Okay, Good color. You could see the before and after on top There. Okay, Still orange. It's kind of a light orange. It was Pop a little. Highlight some of those stain and tops. Uh, okay, So I've added some more white on each of the petals, some bright white, pure white. And I'm gonna continue doing that until I decide that I've had enough. Hi, Lining. But you can see it's it makes a difference more. You look back, take a second look at it and decide what you need to add or subtract from it. And I'm gonna go smudge What I did. You didn't want the harsh lines. It's gonna have to look like a soft pedal and go around into that bottom pedal. Now. Looks Yeah. Okay. Now I'm just gonna add a little bit more color. It's gonna be just a second. That still smudging very go. How hard? He said Sometimes I think I can't leave well enough alone. So here I am. I decided I wanted to change the shape of that leave at the LAT. I mean, the pedal it last minute, and I thought that looked a lot better. Looked a little bit more natural. Go shadow back in. So you know what I love about procreate is that it's unlike paper where, you know, if you did watercolor, that might have, you know, made it look really bad. You have to start over procreate. You just kind of, you know, fix it and do not waste paper. You're not wasting paint. I love it so and I'm adding more color. And that's reflective yellow color. And we are just about done with this. I hope you enjoy to this painting session. We're going to do a but in the next one, and then we're gonna do a leaf. I'll see you there. 4. Buds: Okay, so now we're just gonna go onto doing a little drawing of our buds and a small leaf, and it's the same process as the other videos that I did. So I'm going to speed it along a little bit. So here I'm adding I separately here underneath my drawing there, I'm adding my colors. In this time I'm using the light, um, white color. And then I'm gonna do the shadow color that back pedal, and then I'm adding green little tones to my stem. And these little side believes that come with the but and we go make sure your Alfa lock is on, and I'm just gonna keep going in It is my wet glaze and adding a shadow color. I'm using the same color right here in my shadow area as I am in the but so one part, it looks like a shadow on the other. Looks like highlight and I'm sledging away. So I didn't want to speed it up, because sometimes when I'm smudging, it's sort of like watching water boil could be very boring. So but we've already done this. So now, adding some yellow color in here to some local color, some spirit color and lending me about blending. It's like here it is in the back, but it's essential this is part of the process. So take your time. Now I'm adding some green, dark green. I want my shadow areas to match the light source from the other illustrations that were doing so. It's always in this case. The right top is the lights, and the bottom left is dark. I undid my Alfa lock to extend my stem because I felt like you need to. You could use this anywhere else. You want something to play with. So I felt like I needed to extend that stand a little bit longer. And so now I'm just drawing back in some veins and, you know, each time you layering your details and your shadows and your lights, I call it My Eun Yang. Were always, you know, trying to you have dark against light or a kind of a smooth edge in a sharp edge, you know, just like that, lost and found edges until you get a real painterly kind of a feel for your paintings. Realistic, a swell. And now I'm adding highlights back, felling that same role, and we're gonna blend lens bud light. This is really coming along nice. And I always say to my students, You know, they're like, I always tell them your hand is your hand So however you draw your consistently drawing the same way consistently doing the same, I feel that's your style coming out. Everybody's different and everybody can do something beautiful in room style with their own voice. So I'm just adding tiding up. This is the tiding up area. We're almost done. I think it's released. And so just, you know, if you want to make a whole bouquet, just hold your hold your butt and turn it around and do many different versions of it. Now we're gonna go to a single rose leaf, and I spent this up as well because we've already going over. I don't want to repeat myself too much, so I kind of drew outside the lines. I just wanted to reshape it a little bit more, and I'm dropping in my color same way. Okay, patrol flak on off a lock, and I'm hitting the bottom area with my shadow and above the spine. Even some of the ribs Okay, so that's pretty good. Now we're gonna put some highlight on the ribs. Awesome. Let's get rid of that blue. And now we're just gonna add a spine in. I put the l flock back on because you go right past that little you can go from outside it that way, which is very convenient. Makes it go faster. So now that I have my spines and I'm going to add a little bit of a complimentary color, it's gonna be up adding blue There is the blue atmosphere color putting in. So I'm just putting it right where the the sun is gonna hit the top most part of the lead and we're blending. So I blamed some in color into the highlight and some cup and from the highlight out now could add that sign color and like a orangey brown And look at how it just makes it sparkle when you add like a compliment and nature is in perfect and perfectly in perfect Call it so I'm not being extremely careful. There we go. We're blending everything together here, making decisions. Take a step back and look at your illustration and say what we need to do next. What can I do to top this? Okay, you may need to adjust something here, which is great with procreate, because you're so much freedom with it. So I get rid of my flock. And I decided that I want Teoh redraw part of my leaf that didn't like the shape of it. So trying to get that edge color and I'm gonna, like, draw those just back in. What better? Thank you so much. In the next one, we're gonna do a whole cluster of leaves, and then after that, we're gonna do a composition. I hope you stay with me and I'll see you there by 5. Leaves: Okay. Hi, everybody. And for this last video, as's faras painting, we're going to do the cluster leaves, and I'm going to change it up just slightly. So for these leaves, I think that in the composition later, they're going to be not a focal point. Like the flowers are the focal point and I want it to be sort of in the back, so the light source doesn't have to be in the top right corner. I'm going to make it more neutral, like as if it's, like, almost no like a head or a top or something. So it's sort of it could go anywhere in the composition in the end, So I'm just starting off with my studio pen. The same exactly. I did any other videos dropping in my color. I love that. And I'm gonna take a lighter green and just make the stem and the rib blinds. There we go. I'm not drawing all of them and actually go to paint right over this, too. But I need to know where they are. Okay, My clock is on and dad to lighter color. So my background color was sort of a dark bluish green So now I'm going to get more Kelly Green color because I like to mix. Like I said before, kind of warming cools together because they feel like it's more natural that way. Shadow lines are usually cooler, and things that are in the sun are usually a lot more money. So I did that and just adding these wash rush highlights in. Here we go. I'm giving a little smudge, and so you just step out when you assess it and you think, Well, maybe it needs a little darker here. Maybe it needs a little bit more like there. Kind of cathartic. I could sit here all day into this look so pretty already see how much more natural it looks. Let's go back and add more darks, and I'm just putting him on the edges of the ribs. Get those ribs to kind of so it's kind of a neutral. See what I mean? It's the top. Most part of leave is going to be highlighted. Whatever it's like the closest to you, and sometimes you tend to go overboard over pain. T over. Think it and I like the back button over the double click. You know with your fingers If you don't like something you did. But right now I'm really liking this a lot. You know, I'm just munching away. Here comes the flu. You know, I like that blue. So we got warm, Cool, warm, cool. Sometimes these leaves are kind of shiny, and it's reflective of, you know, this guy. So that's why I like that blue and it gives it sort of that glossy look awesome. I guess I'm putting it now A little bit of a lights foraging ground in the stems because, you know, these stems are not all just green There they come from a woody plant and, you know, really observe your plants, and once you know how they grow, you have it in your mind. You know what to do. I've been gardening for a long time, and I love to study plants. Okay, so I'm just kind of going through Grabbing some color is adding more of those veins in at the end that we kind of painted over tidying up tiding up time. It's easier to flip your campus around if it's easy for you to draw a line that way with, naturally, with your hand. Like to get my whole arm into it sometimes. Thanks. Come out over there. All right. This is looking pretty good. The next video is gonna be composition. We'll see you there. 6. Composite: all right. Now, after we did all that hard work, let's make something beautiful out of it and make a composition so you could see original pieces here that we made. And I actually brought in some pieces that I did on another gallery, another composition. So I had some more pieces. We're going to duplicate your original one and call that composite. The reason we're doing this is because you want to keep your originals intact, and then you're composite. You're gonna be changing the sizes. So you really kind of want to keep your resolution is high as you can for your original pieces. So I had already placed everything where I wanted on this composition. So right here, I'll show you what I did. You basically just select the later that you like and move around anywhere you want. Twist it, turn it. So I recommend, you know, not making its super bigger than the original size because then we'll be out of the resolution and might look a little bit blurry. Definitely could go smaller every time. Okay, so now I'm just gonna open up my layers and show you how I made my composition and you know , a good rule of thumb with any composition. You want your eye to be led into it. You want to look natural you don't want and you want to lose some white, you know, spaces and just play with it until you really like. You know how it looks. Someone that back down. All right. So I'm just gonna draw on this and show you why this composition works and you go there. So here I have this sort of an s going through and your eye starts in and it worked its way out, and it's got a beautiful focal point. And these are not the focal plane the flowers are. So I think this is very successful. So now we're gonna add background, so just take an extra layer and I'm going to our same four pens. Where to go or wash pin, pick a beautiful sky color are anything you want. It could be any color you like. And I'm just gonna dab on that watch behind us behind our composition. It's beautiful. And I'm gonna have a purple doing the warm in the cool yet again. Right? Gorgeous. That's beautiful. So now let's just hear it. I'm excited. So what we're gonna do is we're gonna export it to photo shop because of my next class is I'm going to show you how to make a product out of your beautiful artwork and photo shot will make something that you can either sell or print or give away whatever you like. So you can share anywhere is to any cloud device or even on your actual everybody. Thank you for taking my class. This is my dog, Rose. She works with me all the time, and my next class is there going to be lying art botanical illustrations. And we're gonna take it into Photoshopped and, um, Dio maybe something about it do some sort of product that you could maybe monetizing. And Rosie's gonna come along with me and help, you know, tell me her So have a great day and thank you so much. And I'll see you in the next videos right now.