Create Alcohol Ink Art on your iPad in Procreate + Free Brushes, Paper, Mockups & POD List

1. Part 1 Intro: - Hello . I'm starting. I'm an illustrator, surface pattern designer and sometime metal Smith. I'm coming to you today to teach you how to create a simulated alcohol appearance using the iPad and appropriate at I've designed several pressures that are free downloads with this class that will assist you in creating this simulated look. I've also included some gold foil papers that you can use to embellish your finished projects as well as a lock up to help you envision what your Alcohol Inc art would look like. President on Miria, off print on demand products. And I'm including with that my favorite suppliers for print on the man so that you can explore after you complete in this class, having some of your projects printed and put on different products. It's so exciting when you use something in your everyday life that you created. And it also helps bolster that inner artist that we all have to see something that we created being put to use. Let's go to our classroom and get started 2. Part 2 Explore Brushes: So let's open, procreate and choose our document size for our first creation. I'm going to go over here to the plus and say Create custom size. I'm going to create a canvas for myself that is going to be in inches, and I'm going to designate it as eight inches by eight inches at 300 dp I so that it's always in my menu and I wont have to create it again. It will be there ready for me to use. So let's explore the two pallets that I've provided you and the brushes that I created specifically for this class. These brushes react very differently than many of the brushes you might already be used, Teoh. So let's go here to our brushes palette. And once you have downloaded the brushes that I've giving you with this class, they will be at the top called alcohol inks. One. Let's scroll to the bottom and look at this one called the Alcohol Ink ribbon. Now, to create a particular look, the particular look of alcohol inks. I want you to use your brush, quite possibly at its largest size, but its opacity at about halfway go to your palates. Goto alcohol inks two. That's one of the pallets that I've given you with this class and click on this medium Grey . You can change the shade of this medium grey to your own liking once you've experimented with this. But for me, this will work fine for this example. Now, all of these brushes are very sensitive to the amount of pressure that you're going to be using on your screen. So you will see I'll do a diagonal swash here with this brush. As I start out very light, it's not really showing now. I'm pressing more and more, and now I'm going to let up off the pressure. So it's very, very sensitive to the amount of pressure that you are applying, so be very aware of that. So this is the alcohol ink ribbon brush, which is at the bottom of your palate. I'll do one more brushstroke with it to demonstrate. Don't worry too much if the opacity isn't exactly what you had in mind, because the beauty off creating your work in layers since this is on layer one is that if I want this to be a lighter opacity, I can simply adjust it here. If I want this to be a darker opacity, then I would duplicate that layer on top of it. And voila! You have a darker layer, so it's very easy in procreate to create the look that you have in mind. Now I'm going to delete the second layer, since I don't need it. And let's go to the second brush in your brush menus and look at how it varies slightly in look from your ink ribbon brush this one I've called gossip for because it has several dark lines running throughout it, and it's very pretty if you use it at the corner of a project toe. Add interest like this, so I'm going to do this on a new layer. I'm very big on creating different layers for each new motif or item that I create because it allows me to remove that layer without being destructive to the overall look of my piece . It will save you a lot of time and headaches later, so we're on a new layer, and here's the gossamer brush. I'm going to go ahead and put it at the very top size to kind of experiment with and lower the opacity a little bit. I'm going to go back and forth on this one corner here to show you the look that it has of different, um, shades of opacity and how it varies from that brush. So that is what I call the gossamer brush. You can also use it in a very large swash across your project such as here, that's completely up to you. The beauty about Alcohol Inc art is that it allows you to use the same tools as any other person has, and it's a very limited tool set, but to create your own unique, personalized look. So here I've used on a corner and there I've gone across the top. Okay, lets go and create a new layer so that we have the capability off changing this as much as we would want later. And let's go to our next brush. The next brush is just call it Alcohol Inc number one. It has a different look from all the other brushes, and just by creating increasing the size or the opacity, you can really vary the look off each individual brush. So here will be the next alcohol ink brush once again, Very pressure sensitive. As I bear down and apply more pressure, I get darker lines. I know it's hard at this point to envision how all these different strokes off a medium grey varying in opacity are going toe. Wind up being something that you really love. But trust me, you will love it, and you'll be really excited to play with it for hours on end, creating your own unique vision. So let's go to the last brush here, which I just call alcohol. It number two, and I'll show you how it is different as well. From all the others. It's more dark, with a slight color distortion in the center. If I lower the opacity even more and compare it down here, you can see how it compares. And when we actually get to creating alcohol inks, you'll see that we want toe overlap. Are strokes many most of the time because it creates a very realistic Alcohol Inc Look, when we get to doing that, 3. Part 3 Water Stains and Droplets: Alcohol Inc often has droplets and what looks like a water stain. So I've included two different types of water stains here, and they're really beautiful when they're used it like the corner off a piece could do this . You can put them at the corner like this. Now if I don't like that last one or I don't like anything on this layer. Keep in mind that by because it's on a new layer, then I can just have, though that layer highlighted in blue, which means that procreate realizes that's the layer I'm referring to. I can then hit my not my selection but my active selection arrow. And then once I have this layer with the little marching ants around the outside and the blue dots, you know it's the active one. I can decide if I would like to maybe slide those water stains over here. Maybe I might like that look even more than I then where they were originally created. Or, of course, I can make the whole water stain area smaller, or I could rotate it if I want them to be. I don't hear it the bottom instead, and you'll see as we go along and create are works of art here in Alcohol Inc. How this is very handy to be able to rotate and move and transform our different elements and our water stains and droplets to create a very unique look. A list started. New layer. Let's go down to our water droplets. The's air, different sizes, different configurations of different water droplets were able to selectively target an area of our design where we want them to appear. 4. Part 4 Explore Color: we're gonna use this to create our colors, and it's just a very large tapered airbrush. So if I want to show you a little demonstration, I will create myself a new layer. I'm gonna move this layer down here between some of these water stains just to give you an idea and then go to your palate to select a color. Oh, you can choose, of course, any color in any of your palates. But if you want to really replicate an authentic look up alcohol inks, I suggest you go with some of these colors. So let's choose this beautiful like turquoise blue. Let's move our brush size up to about that. I do like to create my color layers at full opacity up to the top and fill opacity here because then I can always dial that opacity back. So let's take our large crush and just put some color here in the middle. Of course, it's very pressure sensitive, so press harder in one area less hard somewhere else. Just pick some complementary colors that look really nice together, so I'm going to put some yellow here at the edge of this turquoise just like this I think now I'm wanting sort of Ah, orange sunset color in my alcohol inks. I'm gonna go with this orange here and do a semi circle of color around the outside and maybe a green. Let's just put some green here, okay? I'm sure you're not very impressed with my work of art yet, but give it time and you will see how we develop this. So what we will do now is will go to that layer where we have our colors. We'll go over here to our tools and we're gonna go to Gaussian Blur, and let's slide are stylised or your apple pencil across the screen. As you slide your slighted across the screen, you'll see appear you are actually changing the blur factor. You're making it either very blurred and smudged together like that. It looks like a very soft watercolor almost, Or you can dial it back to show more delineation in the colors if you like. It's all up to personal taste. And when you get it to a point that you really like it, just stop there. Once you get, see some examples of Alcohol Inc art and once you've had a chance to go and look on the Internet. At some other samples, you'll see that most alcohol ink colors are very soft and smudgy, like this, from one area to another area of color until you get into actually painting with alcohol inks and you need more clearly delineated borders of color, and we will cover that. But for now, I will leave my my color layer at 100% opacity and leave it softly smudged like that. Okay, now that we've gone through all the tools and you're familiar with the two pallets alcohol inks wanted alcohol inks, too. Let's clear our piece of art here of all these different players. And let's start on our first piece of Alcohol Inc art. 5. Part 5 Begin Creating: you'll see that I've opened to my canvas that I previously set at eight by eight inches at 300 dp I The next thing I'm going to do is open my color palette. There are two pallets provided for you. Alcohol inks one and two. I'm going to choose a medium grey about here, and I'm going to start my creation. With this color, I'm going to begin this piece Alcohol ink brush number one Here. I'm going to set my size at the largest size, and I'm gonna lower the opacity to about halfway and make a test swash with my brush. You'll see that I'm overlapping my brush strokes because I want this sheer and then transparent Look to my lines. I'm gonna change my brush and go to a different one now for a different look. These are so pressure sensitive that you have to be careful. I'm gonna use my alcohol. Ain't brush number two now just to vary the look quite a lot. I'll go in here with that. I'm gonna make some wavy lines as well. A straight ones. I think I'll go down here and use the very bottom ribbon brush a little bit. I'm going to go to the next step, which is where you will begin to understand the magnificent capacity of the liquefy tool and how it affects your art. Here. I do have all these brush strokes as you'll see on one layer, and later we will add layers to create more depth in this piece. So let's go on to the liquefy next. 6. Part 6 The Liquify Tool: Okay, here we are with the piece that we just created, and we're going to go into our liquefy tool on this layer. Your liquefy tool is found over here in the magic wand. It's this option there now, because Alcohol Inc is, by nature a very fluid type of art. We're going to be playing with liquefy a lot because it really lands authenticity to the look of our piece that we're creating. The first tool we're going to experiment with is push when you have the push highlighted in blue. I want your size to be fairly large. I want you to set your distortion up fairly high 50 to 75% depending on what you like. You can change it after you've done one or two strokes with this, and I want your momentum all the way up to 100% because the mo mentum effects the liquid and fluid Look off your following brushstrokes. And that's what we really want to replicate when we're doing this. So the first thing we're going to do is experiment here with our stylists with our settings on the push tool. Watch what this does when I do that. It's like I've added water and rippled that line all the way up there, creating a really beautiful fluid marbling effect. Okay, if I like that stroke and I like the size of my brush, I can leave it there if I want to bring my brush smaller, my brush slightly smaller, which is what I just did and pulled down. Then you can see the effect of that. I'm gonna continue doing this until I like what I'm seeing. And I'm going to change the size and the distortion, possibly on some of them until well, until I'm tired of this step. Really, I'm going to just play with this and see what happens to each area as I mix and muddle my lines up. Now the next thing you want to do is to take your edge here, leave your momentum up. There's no distortion on this, and the size can be relative to the line that you're working on. What we're going to do with the edge tool is we're going to go over the edges like this and pull them together and create wispy looking strands out of some of the ends of these lines . the wispy nous is really indicative of a look that's very popular and Alcohol Inc art. You're not just going to create this marbling effect like that. Go over the edges of some of these, pull them together, spread them apart, create a wispy look. Bring your brush size down smaller too. Affect it even more. You can see as I draw over these lines that it is affecting their diameter and it is causing them. Teoh, expand and be pushed together according to the algorithm of this particular tool. Okay, now I'm going to take this expand tool. I'm going to set my size about medium. I like the distortion on it to be about halfway and watch what it does. When I lay this brush size down into an area, it's going to bloat that area and make it look very liquid and fluid, as if the color has pooled in those areas. And even though we're just dealing in grayscale right now, the pooling off color is one of the more beautiful aspects of alcohol art. So I'm going to take some of these areas where I think I would like to see some pooled color eventually And after you've created one or two Alcohol Inc pieces, you'll have a much better internal artist instinct for this. You'll know where you might want to pull that color and drag it out a little bit. Keep in mind after you do the expand, you can't, of course. Then go back in with your push or your edge tool and, uh, create new a new aesthetic in that particular area where you've expanded it. I'd like to see this dark right here expanded quite a lot. I think that's gonna get me a really pretty effect. I've always thought that this at this part in the process, the lines are almost resembling. Um, a monochrome slice of the inside of an egg. It looks very much like the bands of color that you see and stones. And because I also do metal Smith thing and work with stones, that's something that really appeals to me. Okay, I've got that done. Now I think I'm gonna go back into my push tool for just a moment and possibly around these expanded areas that I just created. I'm going to push the colors or the lines adjacent to those areas around them a little bit , so that when the color that we apply lighter is obvious in these these bloated or or pooled areas, you're going to see the areas on either side of it kind of pulled up almost like you're looking at a river and a tributary, a stream than a large ponding area, which is really almost exactly what alcohol ink looks like when you're working with it. And instead of leaving your apple pencil on the screen, Uh, when you're doing the push, I kind of give it a little. I hit it lightly and then shove it because I want the water or the color toe follow where I've just nudged it. And if you don't like a stroke that you've just made used two fingers, a two finger tap and you can undo the breaststroke that you just made, I want to use a slightly smaller brush to go into this area. I want to see a little bit more liquid effect here. I think maybe a little bit more pushing of that color of this dark into their you'll see how mesmerising this isn't that you can really just sit at this stage and and do it quite a long time if if you have the time and it's very calming. Okay, I'm going to stop there for now. Right now, we have the mod settle normal, but I want you to change that mode. Once you've decided that you like this layer pretty much the way it is, set it up to multiply because we're going to have some other layers under it and on top of it. And we want to make sure that the layers underneath it are always visible so they multiply . Command on that layer keeps the visibility off the layers beneath it, where we will want that to be. So if you expand this and look in, you'll see that there's just really beautiful marbling and fluidity to the lines that you have altered using the liquefy command, and it's all up to your own taste. And I would bet that as many pieces as you ever create using this technique, you'll never have to pieces that are exact. So we will stop there with this section of the video, and when we come back, I will show you how to add some increase to depth and color to your pieces 7. Part 7 Add Depth and Color: When I say I want to create more depth in this piece, you'll see where I have these really dark lines here, going and up here that that is visually interesting, more interesting than this area here in the middle. That has very little contrast. So I already know that when I go and create another layer that I'm going to be adding some contrast in this area, possibly even coming in at this corner and leading out that corner because I want to lead the I threw the piece here. So let's go to our layers palette. You're gonna still leave it on a medium grey, so create a new layer. But now we're going to move that layer below the layer that we have already created. So let's take it and just drag it here. You can leave this layer up for reference as well, and if you want to, you can lower the opacity to see um, to see more clearly what you're creating, and I'm going to create myself a little bit of a wavy line coming in at one corner and going out the other anyway. We're going toe alter this shape with our liquefy tool as well. So what you're seeing here is not what you're gonna end up with it all and creating almost a why intersection there off contrast. Possibly. I'm going to start here and very go out that way with my next line. Okay, that's all I'm going to do in this layer. I can also add other layers after this one if I still don't like exactly what I'm getting. But now let's go into liquefy and change these lines around and see how we like the creation. - Now we have our top layer, one underneath layer for depth, and the real fun begins. We're gonna add some color to our peace. So go to your layers palette, create a new layer. Put it on top off the two layers that you've already created. Go to your actual pallets of alcohol ink colors and select a color that you like. Now one important thing you want to do to this layer is it's set on normal mode. Click on your mode, go to the bottom here, click on color and now change it to color. That is the mode that you're going to be using when you paint and you'll see that it is a very different mode than your normal mode. Go to your brushes palette create. Go to the very top shoes that, and then start painting with that color. Vary the size of your brush, but for now, leave the opacity of full opacity. When you're a painting in color bowed, it does not paint as deep of on opacity as you would in normal mode. So you want to leave the opacity at full opacity here and later. If you don't like that opacity, then you can change it in your menu by lowering the opacity on the slider. So what I'm going to do first is create myself a raspberry river through the center of my pace, going out diagonal ing to that corner. I'm going to more or less follow this darker contrast color that I put in here. Second, go to your palate and choose a color that you think would go really well with that, or that you like. Or as I said, if you're dealing with a particular color scheme, then of course, choose your next color in that sometimes what I like to do if I'm not sticking to the Alcohol Inc palate is to click on my disk for the color that I've just been using. And if you know about color theory, then you know that exactly opposite the disk, you will find a color that, if it is used, really contrasts well with the color here, and we'll make it really pop. If you go back to your Alcohol Inc pallets here, you'll see that this blue green that I have chosen is really present here in this spectrum and again down here. It's not very far off from thes colors, but I wanted to show you how to use your colors in your disk to create a complementary or contrast in color to the one that you've just used just going toe. Add this color Anna. Full opacity on the same layer adjacent to this color to create a very contrast e eye catching peace. Next, I think I'm going to add a yellow in there that I like. So this is a very nice light yellow color here in the Alcohol Inc number one pallet. I want to come in on the side with this yellow toe, lead the eye out over here. I think I'm going toe. Add it over here a little bit, bringing the I and and making it adjacent to this blue. This will not be our only color layer that we create in this piece. There will be other layers, other layers after this. So you don't have to feel like you need to have the complete vision of your piece at this stage because it involves as we go and we can deepen or a race colors. If we don't like them, I'm gonna overlap the colors somewhat to, For example, if you were creating a piece like this that you wanted to really go well in a particular room of your home or an office or someone else's home, you would take a snapshot of that room and either contrast the colors in that room or try to match the colors from that room in a pound. What? I'm gonna go with a darker color because I know that it's not gonna be as saturated because of the process I'm using here. We're on this layer here. It's setting color mode. It's highlighted, so we know that our next action is going to be affected on this layer only we're gonna go here to our little magic wand tool. We're gonna go to Gaussian Blur once again, we're going to swipe our pencil or stylus across the screen. And as we do that, you'll see this blue line here indicating what percent you are blurring the colors below. Now, as we go across, watch how the colors are affected by these dark lines and watch how they are blending into the color adjacent to it and how they're becoming much more muted as we go. So if you like the way that they are bleeding into the next color, you could go with a fairly high ghazi and blur and then duplicate that layer to bring your color back. I'm gonna dial the color back to where we were, so you can see that the Gaussian blur is really affecting the intensity off your colors, as well as mixing the colors with each other. I'm gonna leave it about their because I do like the intensity off this off. This look right here. Now, if you go to that layer, though and you duplicate it, watch what it does to the colors. They're much more intense now, They're very vibrant, very highly saturated. So if you happen toe like the Gaussian blur on your previous layer at almost maximum, then you can just duplicate that layer to bring your color back into being vibrant again. And if we turned that one off, you'll see where we were. So now it really does look very de saturated when you see what's possible if you duplicate that layer. Okay, this is the look that we have created so far. But let's look at how the color is affected by these two different layers of gray, and that gives you an idea of maybe where you want to get next. So here we're going to leave our color layer on. You'll see it's in color mode right there and later. One is the one that we first created. So let's turn off this bottom layer layer to, and you'll see that that color appears to be just pooling and drifting in and out of those areas that we created on our first layer. Turn the bottom layer back on. You'll see how dark in contrast e that is, and you can always dial that back if you don't like it at this point or even later. Just leave your layers in tact. So let's turn off our first layer that we were just looking at. And you'll see the color that you just added is only being shown on that contrast e dark layer that we had. And that's really very pretty. And in fact, if you want to bump up that particular look, you can always duplicate that underneath layer to make it more pronounced. For now, I'm going to turn the middle layer back on. What we're going to do at this point, though, is we're gonna add some more depth to our piece by creating another layer, and we're going to bring that layer to the very bottom. That layer is also going to be a layer that we use as a color layer, but we're going to move it to the bottom so that its color is showing up through those two layers that we just created, and we're going to leave its color mode on normal. If we were to change it to color as we did the top layer, it would barely be visible unless we duplicated it. Ah, lot. So we're going to leave it on normal mode, but it is going to be a layer created just like this with overlapping areas of color. So once again, we're going to make sure that we're using this top brush and then look at your piece and decide what colors you think might be really striking. With what you've already got here. I think I'm going to add and some light blue in this area to make sure that the leading and color is lighter. I may add some darker grounding colors here and then some splotches of brighter color in the center. Now these colors will not be interacting with the color that we're seeing as far as smudging or, um, blurring into those colors because they're on a separate layer and we can delete and alter them separately, of course, because of that, so let's get started on this process and see what we come up with 8. Part 8 Negative Space: in our next session. I want to address an issue with this piece that I have just discovered isn't quite to my liking, and you can do the same thing with your pieces. I've discovered that I really do like it when I leave more negative space, possibly up here, a top or a to bottom on my pieces. And if you get to this stage and you discover after creating several pieces that you wished you had left some negative space at the top two, then there is a way to adjust that and fix it at this point before you go further. Let's go over here and look at our layers are first. Our top layer is the color layer that we created. You can turn it on and off to sea. It's a fact. This is the first layer that we created here before we added the the in depth layer there. So let's turn that on and off, and that is actually where I see that I should have left some negative spaces on this layer . But I'm gonna go to this layer here and go into my liquefy and show you what you can do if you discover that you prefer a piece that has some negative space at the top without the marbling and just with some of the muted colors bleeding into that area. So let's go back to liquefy. Once again. Let's move our peace created small enough that we can see it in the entire window. So we're not leaving anything out and so that we can judge the effect of what we're doing on the balance of the entire piece. We're going to go to this push tool first, and we're gonna make this size about their cause. That's the area that's about the size where we're going to start here at this corner and push that gray marbling down some. We want the momentum all the way up and the distortion up to so that as we push it, it will pool and actually react to us very much like liquid would. So let's start here and see what happens if we do that, Okay? It gave us a nice ripple in that area. It pushed the gray away from there, and it just left the blue underneath where we had painted some blue Let's go to this corner and see what happens if we push some of that marbling away from that corner. I'm going to continue pushing here with my brush smaller and smaller so that I can actually get all of this away from that corner after you've cleared your space that you like like that. Don't forget to go into your edge tool and redefined those edges. 9. Part 9 Water Stains: Okay, here we are with our piece where we've created some additional negative space up in this corner. Next, we're gonna add in some water stains. So I want you to change your color to black. We're going to create a new layer. Go to your layers palette. You'll notice that your color layer is on top immediately. Under your color layer is the multiply gray layer that we just suggested and created the negative space in. And I want you to put a layer on top of your first gray marbled layer. That's the one where we're going to put water stains. No, As I said, I gonna have you work a full opacity here with the color. It's gonna be very dark, but we're gonna lower that opacity in our layers palette to get the water stains toe look exactly like we won't and so that they don't clash so much or bleed into this dark contrast area here and there. We want them to look very different from those areas, but they will really add something to the peace as well. So let's go to our brushes palette. There's two water stains available there. One is ah slightly larger than the other. You can experiment and see if you prefer one or the other, or you can do like I'm going to do and just mix and match them. I'm going to start with this one, which is the bottom, most one. And sometimes it's hard to regulate exactly where it's going. Toe lay the stain, the water stained down so you may have to play with that. Or you may have to use the selection tool and move it. Let's try this corner here and see what we get. Oh, I have the size, Um, says like 28 27%. So I'm going to start at a fairly large size. That's about midway up our scale there. Okay, that's what I got with. This one is just this area right there and you'll see if I turn that often on now you'll be able to see what was added. Okay, there's the water stain. If I turn it on and off, you can see what I just did. Now I'm going to make sure that this layer is in blue so that my next adjustment effects only that layer I'm going to hit my arrow so that it selects that water stain I just put down already. See that it's about the right size. But I want these edges here to be at the left hand edge of my piece. So I'm just gonna rotate it, move it over some until I like where it is. Okay, that's all right with me right there. So I leave it on a separate layer for the time being. But I'm going to combine it with the underneath layer one, some sure that I want to keep that there and keep that there. Okay, We've used to off that water stain. Let's experiment with the other water stain brush to see what it gives us. It's here. And let's put that on a separate layer as well, so that we can manipulate it where we want it that now something else you can do to these water stains is if I don't like this hard edging here, I can go back to my a race tool. Just choose, Ah, monoline brush that doesn't have any weight or flair to the chip. And just a race. Some of the edging that looks a little too harsh to me. so you can also then, of course, go into this handy dandy liquefy tour, which I just love, my dear. And use your push or your expand and your edge brush and push this water stain into a completely different size or shape. If you don't like what you wound up with using this stamp, change those edges. If you want to expand it a little bit more in one area than another, you could do that. It lands to the look off it being truly a water stain. Go back over your ages one more time and say, OK, we're good to go. So we have a water stain here and here, and that one doesn't quite come to the edge. So I'm going to address that later. Next It's this one, and I think to correct that. I'm just gonna go into liquefy. It gives me a more authentic look, and I will push that end back over here. Use a smaller size brush toe, bring that in down, come in, push this stain out a little bit like this so that it's blading into the adjacent areas. And then if I see any areas that I want to expand that I don't like the way that they wound up. I can do it at this point by just putting my brush right at the very edge to expand it. And now I have all these water stains on different layers and to save our layers and to not slow down the engine off procreate our iPad, we we do want to Marge all those and then as one layer. Um, go ahead and name your layer. I like to do that so I don't get lost. Once I get so many layers going on, it's hard to see what all the different black layers are, so that one is obviously water stains, and I've just labeled it. But after you get them all in one layer, then you can lower the opacity So that there, you know, barely distinct. Or you can leave it at full capacity for now and see how you like the overall look of it. 10. Part 10 Water Drops: for our next layer, which is gonna be bubbles and water spots, which are different. We're going to create a layer on top of the color layer, so let's go ahead and name this one before we get into it. Water spots. Okay, now water spots are sort of the opposite of water stains. Water spots are painted and white, so let's go to our alcohol. ANC's palette right beside your black. You have a pure white that select that. Let's make our peace big enough to fit in the screen so we could see it well, see the overall effect of what we're creating. Let's go to our brushes and this is We have water droplets one and water droplets to Let's start with water droplets one. And let's see what size those seem to be. You know, these are going to be randomized in your brushes palette. Go here, click on the water droplets brush and here in your stroke, which is the first option under your brush. You'll see that I have the spacing out at 52% on my water droplets. Once you have painted with the water droplet brush. If you don't like them, being that far apart, you can move them in and they will be randomized still. But they'll be much closer in like this, and some of them will even join each other. It depends on the look that you like. And I'm thinking for this particular look. I do want some of them to be fairly close to each other. So I'm gonna move my water droplets right now down to 33%. We'll leave the jitter up it, Max, because I do want them to not follow a path so much. I want them to look more natural. So we have it in white and we've, um, adjusted the look off them so that we like the way that the spacing is. And let's just do an experimental water droplet, um, brush stroke, just to see how they're going to lay down. Now they are pressure sensitive. As I press harder, their larger as I press less, they're smaller. So there's what we have with our first batch of water droplets. Think I'm going to do if you over in this area, but maybe make my brush a little bit smaller. I'm gonna start about here because I want them randomized. And even though you can't really see them over here because of the negative space and our initial background being white, don't worry about that. We're going to do something in a moment to emphasize them and then they will be visible. And there. Okay, so that was the first layer of water spots. Let's put a second layer on there and we will goto water droplets to now. We want to go to our first layer of water spots, slide to the left until it to duplicate. When it duplicates that layer, it makes it much wider. Of course, because we've duplicated a layer that was laid down with white ink. You might actually like that and want to leave it like that. However, what I'm going to do with my layer that I just duplicated off the first layer of water spots is I'm going to This is the underneath layer of water spots. I'm going to click on it, Hite Alfa Lock. Then I want to go to my color palette. I'm gonna choose black gonna go back to my layers. Here is the layer that I've hit Alfa Lock on. You can tell that it's Alfa locked because it has the transparent checkerboard background. So click on that layer, and now, with black as your color, you're going to hit feel layer. That layer that was previously white is now filled with black. If we turn it on and off, you will see that the water spots now arm or gray than white. We're going to tap it. Remove Alfa lock. So now we have two layers that are identical one in white ink, one in black ink with this layer visible and highlighted in blue. Go hit your era. Now that will, um, make that the active selection of your black layer. And now what you want to do is you want to tap about three or four times on that layer off to the side, and what you'll see is that that black layer is being offset very, very slightly. Each time you nudge it. It's approximately probably one pixel that you're offsetting it, so offset it enough so that it actually looks like it's a small shadow which ever direction you tap is the direction that that shadow will then be offset so you can tap immediately out to the right, and it will set it off. Or you could go like I did to the corner, and you're going to get it down here in this quadrant of your water spots. So gonna go back to that layer, and now it's offset, and it makes it look like we have, ah, gray water spot there. What you can do at this point is you can go to your white water spot layer immediately it on top of the black one. You could duplicate it again. You wind up with a very quiet water droplet like that, but lower the opacity of the one on top. If you remove the opacity, you'll see what you had originally. As you bring it up, you'll see that some degree of white is being added back into your droplet, which I kind of like it to be a little more white. Then gray. So you have two layers. That's a water spots that are exactly identical. They're both in white. One is at a higher opacity than the other, so I'm going to merge them to conserve layers. Now go and so not select but highlight the black water spot layer just by tapping it and turning it blue. Now go up to your Gaussian blur. We're gonna blur that black layer, which is the shadow layer to make it look not quite as hard of an edge underneath the water spot. So just blur it out until you like the look of it, and you can leave it as a very hard edge or you can, um, blow it out like that. That's what I'm going to do with that one. So now we have our white water spots with the black shadow underneath it. 11. Part 11 Optional Gold Foil Embellishment: Here we are. We have Our colors are water stains In black are water droplets and spots in white, and the next step is optional. Some people really love the look of this, and some people don't care for it. But part of your class downloads is a textured piece off gold crumpled foil. So I want you to g o and say insert file, and then you will navigate toe where your file is on your iPad. I keep mine in my dropbox, so I've already got it in here. But going navigate em, bring in the gold crumpled foil paper that was supplied with your brushes and your other items. You're going to bring that in and place it at the very top of all of your images. I have it turned off right now, so go ahead and make it a complete size off your image by hitting your arrow and dragging the handles so that it's the size of your complete work. Put it at the very top of all your layers and then underneath it, you want to create a layer that is blank, so to create a layer underneath it, you'll need to go to the layer, which is underneath it. Hit, plus, and then you have a blank layer under your gold foil. Then what you want to do is click on your gold foil layer until it clipping mask. You want to make the gold foil. Layer a clipping mask to the empty layer beneath it. Okay, now go to your brushes. There's one last brush at the very top. My sketchy loose brush. It's one of my favorite brushes. I use it for all kinds of things, but we're gonna use it in this application toe. Add some gold foil into our peace. Go back up here, make sure you're on the correct layer. You have the gold foil layer on top with clipping mask selected here and the empty layer beneath it. But click on the empty layer. That is the layer we're going to paint on now. Set your brush at a fairly small size that's going to resemble the same size as the edging off some of these areas and just experimented to you. Get the size where you want it. So let's look and see where we think some gold foil might actually be really pretty in this image. It's a little low contrast appear because we don't have much color in this area. So let's see how a little bit of a gold edging in here and you want your edges to be lusanne and almost jagged. That's why I supplied you with the brush that I did so that it looks like this gold leaf is actually peaking out from underneath some of this darker edging. I think I'm gonna stop with that amount of gold on my piece. And once you get that layer in there, if you're uncertain whether you like it or want to keep it, just go over here and turned it off and on and see if you like. Ah, the effects. See if it added anything. In your opinion, you can dial the opacity back again so that it's not quite as as gold or with the highlights in it. But I usually leave it at full opacity if I'm going to have it in there at all. 12. Part 12 Other Options: So we're getting ready to wrap our piece up. And this is what we have so far. Ah, there's one thing left that we can dio and that is that you can go down here at the very bottom of your stack right on top of your background color. You can add an additional layer, will have to add it there and then move it, move it down because we want it to be underneath everything and right on top of our background, which is still set toe white. And we can add in some more light color in these areas that are showing the white. Because, of course, the areas that are showing why does your background showing through and I like the likeness off it. But some people still want to fill that in with some color now that we have the water spots and stains on it. So I'm I'm in agreement that it could definitely use some more color. We're gonna switch back, though to our smudgy bleed brush. And I think because of the gold having been added in there, that I'm going to want to put possibly some yellow appear in this corner, gonna leave the color mode on normal. And like I said, this color is gonna be at the very bottom of all of our stacks. And I'm going to experiment and see if I put yellow in this corner how I like it. I'm gonna go right up against the blue. That's on the layer immediately above it. We're gonna smudge this or in a minute with the Gaussian Blur. So don't worry if it is too deep to begin with, we can back off of that. As long as we like that color family, we can adjust it in. Just a moment I'm going to do, though, is I'm going to Gaussian blur that layer to smudge those colors out so that they're not as intense. We will watch the effect in this upper corner here will be able to see it most readily there. As we slide across, we'll see what adding that color did and course we could see it. Here, there, there and over in here. Well, as I showed you from some of the mock ups briefly earlier in the video, you can flatten your layers or do a screenshot or a screen capture off your piece completed and then send it off to a print on demand printer tohave, it turned into, um, the hundreds of products that they offer. 13. Part 13 Variations: one important thing I'd like for you to keep in mind is that even after you finished your peace and your at this stage, what if you've spent time on this piece and it just doesn't do anything for you? That's the beauty of working in Alcohol Inc. Because the art is so abstract and fluid looking that you can completely change some of the layers around and change the look of what you have. I'm going to go into my layers right now. Also, let's make our water spots invisible for just a moment so that we can get to our colors and see what it is we're dealing with here. So we have a couple or three color layers. We have our main color layer here, which is above Ah, lot of our marbling. So that's this layer. If I turn it off and on, you'll see that it's the majority of our color. And then down here we have a little bit of the highlights and colors that we added into the background for filler and then a little bit of this peachy color around the outside. So let's go to this layer here, highlighted in blue so that it's active and come over to your adjustments panel and go down to hue, saturation and brightness. If you don't like the colors that you've wound up with, you're not stuck with them. Just go to that layer an experiment a little bit. First, let's change this lever saturation and our brightness in the middle where they currently are. And let's look at some of the colors here. Let's slide the slider all the way to the left slowly and watch how the colors are affected , sometimes just by recovering it. With this, you land on some color combinations that you previously had not considered that we go back about to the middle, and that's where we were. That's what we created. Let's go to the right now and see what those colors are. Okay, what did you like in there? I liked a lot of the purple colors that were on the other end here of the color wheel. Really lacked it in here. I like the deep blue with the purple with some of the PCI colors coming in, and we still have these other layers of color here that we can work with if we want to change them as well. But I'm going to leave this here for now. And now that See what happens if we saturate it more and see what we get? Okay, let's go back to the mill. I kind of black it about in there, which is just slightly more than halfway saturated. We have brightness here so we can go very bright with our colors or just add light is what it's really doing. So let's go into the darkness. I kind of like it a little darker about their. If we accept that and we go back to our layers, then we need to probably adjust these other layers that aren't exactly working for us with the current colors that we have. So let's go here to this layer, go back into our hue and saturation, and let's see what happens if we slide it to the left. I'm going to leave it there for now. Let's see what happens if we saturate that layer more, but let's see what happens If we add line. We add light. A lot of the negative space seems to be coming back, and then I'll go to the very last color layer, which is just where we added this yellow and some peach colors around the edge. And we're going to do the same process again, going to hue, saturation and brightness. Okay, now we've changed the colors to this completely different color palette, something else that we can do here if we want to. Let's put the water spots droplets back on and see how they're going to be looking with this color. And, of course, if you don't like the water spots or you want them somewhere totally different, you could just remove them if you don't want them or you can put them back in there and only use one set of them. Let's go to our water spots to layer. Let's hit the arrow so those water spots are only in that top half of our image. So let's see what we get. If we move it down just a little bit now, rotate them. Let's leave the second layer, which is there. Let's leave. It turned off for now and let's go right here. And look, if we turn back on this layer with the dark lines or the gold and we turn the opacity of that back up. Of course, the gold isn't following the outline of art are other edges anymore. But you can still see that we've created a really significant looking, different looking piece than what we started out with just by adjusting some layers and rotating them, not by doing anything more than that. So it by and then close this. You can see that we have this now. But we originally had this. So it went from the blues and purples that we just created. And then this is the image that we have with all the water spots, all the water stains and the gold and all the different lines. Sometimes less is more so. That's how you could change the colors and the values in your piece to create more than one pace from just the one exercise that you've completed. 14. Part 14 Conclusion: - I really hope you've enjoyed this class and that you've learned some interesting new techniques that you can pursue and explore with procreate and these different brushes. And I thank you so much for joining me here and learning along with me.